From Content to Context
Considering Embodied Implications for Film Sound Practitioners
Bibliographic Data
| ID | 20202108 |
|---|---|
| Authors | Alison Walker (0009-0004-0562-352X, corresponding author) |
| Year | 2022 |
| Issue | 70 |
| Publication date | 2022-11-30 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Australian Humanities Review (JOURNAL) |
| Journal identifiers | ISSN: 1325-8338 • E-ISSN: 1835-8063 |
| Publisher | Association for the Study of Australian Literature (PUBLISHER • AU) |
| DOI | 10.56449/14013567 |
| OpenAlex | W4324011543 |
| Language | EN |
| References cited | 16 |
REVEALSthe ways in which practitioners negotiate the physical, mental, financial and social strains that affect their professional and personal realities.Through this, the wider scope and enduring impacts of sound work become apparent.'Film sound practitioners' are defined here as those who perform a diversity of sound roles, including location recording, Foley, sound design, sound effects (sfx) and dialogue editing and mixing.Film sound professionals work under the broader rubric of film, video and gaming production, as part of the creative industries.These sound professionals are responsible for capturing and/or creating a production's soundtrack elements of dialogue and/or effects.As will become apparent, employment in the creative industries is fraught with issues that directly and significantly impact the individual embodied experience of those professionals involved.And importantly, detailed studies specifically investigating the experiences of these specific sound professionals within the film industry are scarce.Mark Banks, Rosalind Gill and Stephanie Taylor note that after decades of being 'displaced' in media studies by a focus on texts and audiences, ' the labouring lives of people working in the cultural and creative industries are now firmly on the research agenda' (1).This discussion will firstly identify the problem with popular conceptions of 'creative work'.Through the mapping of some trends of scholarly writing on film E
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| Highly cited | No |
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