Seeing a film in blindfolds: cinema experience with EarFilms

References

• 2Luck Concepts. 2013. “Blog Archive, EarFilms “To Sleep To Dream”.” Accessed July 18 2020. https://2luck.com/past-projects/EarFilm/
   Google Scholar
• Augoyard, J-F., and H. Torgue. 2006. Sonic Experience: A Guide to Everyday Sounds. Montreal: McGill-Queen’s University Press.
   Google Scholar
• Bandt, R. 2001. Sound Sculpture. Intersections in Sound and Sculpture in Australian Artworks. Sydney: Craftsman House.
   Google Scholar
• Barber, J. F. 2021. “Electronic Literature and Sound.” In Electronic Literature as Digital Humanities: Contexts, Forms, & Practices, edited by J. O’Sullivan, 115–123. New York: Bloomsbury Academic. doi:10.5040/9781501363474.ch-009.
   Google Scholar
• Baudry, J.-L., and A. Williams. 1974. “Ideological Effects of the Basic Cinematographic Apparatus.” Film Quarterly 28 (2): 39–47. doi:10.2307/1211632.
   Web of Science ®Google Scholar
• Baudry, J. -L. 1986. “The Apparatus: Metapsychological Approaches to the Impression of Reality in Cinema.” In Translated by Jean Andrews and Bertrand Augst, Narrative, Apparatus, Ideology: A Film Theory Reader, edited by, P. Rosen. 299–318. New York: Columbia University Press.
   Google Scholar
• Belton, J. 2004. “Introduction: 3-D Cinema.” Film History 16 (3): 203–204. https://www.jstor.org/stable/3815531
   Google Scholar
• Blauert, J., and R. Rabenstein. 2012. “Providing Surround Sound with Loudspeakers: A Synopsis of Current Methods.” Archives of Acoustics 37 (1): 5–18. doi:10.2478/V10168-012-0002-Y.
   Web of Science ®Google Scholar
• Bolter, J. D., and R. Grusin. 1999. Remediation: Understanding New Media. Cambridge, MA: MIT Press.
   Google Scholar
• Brophy, P. 2007. “How Sound Floats on Land.” In Beyond the Soundtrack: Representing Music in Cinema, edited by Daniel Goldmark, Lawrence Kramer, and Richard Leppert, 136–148. Oakland: University of California Press.
   Google Scholar
• Casetti, F. 2012. “The Relocation of Cinema.” NECSUS, in “Tangibility”, Features. https://necsus-ejms.org/the-relocation-of-cinema/
   Google Scholar
• Chion, M. 1994. Audio-Vision: Sound on Screen, Translated by C. Gorbman, 14th. New York: Columbia University Press.
   Google Scholar
• Chion, M. 1999. The Voice in Cinema. Edited and translated by C. Gorbman. New York: Columbia University Press.
   Google Scholar
• Chion, M. 2009. Film, a Sound Art. Translated by C. Gorbman. New York: Columbia University Press.
   Google Scholar
• Coulthard, L. 2012. “Haptic Aurality: Resonance, Listening and Michael Haneke.” Film-Philosophy 16 (1): 16–29. doi:10.3366/film.2012.0002.
   Google Scholar
• Crook, T. 2002. Radio Drama: Theory and Practice. New York: Routledge.
   Google Scholar
• Denson, S. 2015. “Ancillary to Another Purpose.” Medieninitiative (blog). https://medieninitiative.wordpress.com/2015/02/05/ancillary-to-another-purpose/
   Google Scholar
• Donnelly, K. J. 2014. Occult Aesthetics: Synchronization In Sound Film. Oxford: Oxford University Press.
   Google Scholar
• Douglas, S. J. 2013. Listening In: Radio and the American Imagination. Minneapolis: University of Minnesota Press.
   Google Scholar
• Drever, J. L. 2017. “Field Recording Centered Composition Practices: Negotiating the ‘Out-there’ with the ‘In-here.” In The Routledge Companion to Sounding Art, edited by M. Cobussen, V. Meelberg, and B. Truax, 71–80. New York: Routledge.
   Google Scholar
• Dyson, F. 2009. Sounding New Media: Immersion and Embodiment in the Arts and Culture. Oakland: University of California Press.
   Google Scholar
• EarFilms: Hearing Is Believing. 2014. Accessed on 1 August 2020. https://vimeo.com/105055793
   Google Scholar
• EarFilms: The EarFilms Experience. 2012. Accessed 18 July 2020. https://vimeo.com/48705362
   Google Scholar
• Elsaesser, T. 2011. “What Is Left of the Cinematic Apparatus, or Why We Should Retain (And Return To) It.” Recherches Sémiotiques/Semiotic Inquiry 31 (1–2–3): 33–44. doi:10.7202/1027439ar.
   Google Scholar
• Elsaesser, T., and M. Hagener. 2015. Film Theory: An Introduction through the Senses. New York: Routledge.
   Google Scholar
• Finn, J. M. 1975. “Metz’s New Directions.” From Jump Cut 6: 14–15. https://www.ejumpcut.org/archive/onlinessays/JC06folder/MetzFinn.html
   Google Scholar
• Goddard, M. N. 2020. “Genealogies of Immersive Media and Virtual Reality (VR) as Practical Aesthetic Machines.” In Practical Aesthetics, edited by B. Herzogenrath, 171–180. London: Bloomsbury Publishing.
   Google Scholar
• Golding, D. 2019. “Far from Paradise: The Body, the Apparatus and the Image of Contemporary Virtual Reality.” Convergence: The International Journal of Research into New Media Technologies 25 (2): 340–353. doi:10.1177/1354856517738171.
   Web of Science ®Google Scholar
• Gorky, M. 1896. “1960 ‘A Review of the Lumiere Program at the Nizhni-Novgorod Fair’ Nizhgorodski Listok (Leda Swan).” In Kino: A History of the Russian and Soviet Film, edited by J. Leyda, 407–409. Princeton, NJ: Princeton University Press.
   Google Scholar
• Green, M. C., and T. C. Brock. 2000. “The Role of Transportation in the Persuasiveness of Public Narratives.” Journal of Personality and Social Psychology 79 (5): 701–721. doi:10.1037/0022-3514.79.5.701.
   PubMed Web of Science ®Google Scholar
• Gunning, T. 2006. “The Cinema of Attraction[s]: Early Film, Its Spectator and the Avant-Garde.” In The Cinema of Attractions Reloaded, edited by W. Strauven, 381–388. Amsterdam University Press. https://www.jstor.org/stable/j.ctt46n09s.27?seq=1
   Google Scholar
• Hand, Richard J., and Mary Traynor. 2011. The Radio Drama Handbook: Audio Drama in Context and Practice. New York: Continuum.
   Google Scholar
• Herzog, A. 2013. “‘Charm the Air to Give a Sound’ the Uncanny Soundscape of Punchdrunk’s Sleep No More.” In The Oxford Handbook of Sound and Image in Digital Media, edited by C. Vernallis, A. Herzog, and J. Richardson, 191–213. Oxford: Oxford University Press.
   Google Scholar
• Ihde, D. 2012. Listening and Voice: Phenomenologies of Sound. 2nd ed. Albany, NY: SUNY Press.
   Google Scholar
• Kahn, D. 1999. Noise, Water, Meat: A History of Sound in the Arts. Cambridge, MA: MIT Press.
   Google Scholar
• Kessler, F., D. Chateau, and J. Moure. 2016. “The Screen and the Concept of Dispositif – A Dialogue.” In Screens. edited by D. Chateau and J. Moure, 264–272. Amseterdam: Amsterdam University Press. https://www.jstor.org/stable/j.ctv8pzd7x.25
   Google Scholar
• LaBelle, B. 2006. Background Noise: Perspectives on Sound Art. New York: Continuum International Publishing Group.
   Google Scholar
• Leotta, A. 2018. “Total Cinema: René Barjavel and the Future Forms of Film.” Screen 59 (3): 372–380. doi:10.1093/screen/hjy039.
   Web of Science ®Google Scholar
• Lippit, A. M. 1994. “Virtual Annihilation: Optics, VR, and the Discourse of Subjectivity.” Criticism 36 (4): 595–610. https://www.jstor.org/stable/23116106
   Google Scholar
• Lippit, A. M. 2005. Atomic Light. Minneapolis: University of Minnesota Press.
   Google Scholar
• Llinares, D. 2020. “A Cinema for the Ears: Imagining the Audio-Cinematic through Podcasting.” Film-Philosophy 24 (3): 341–365. doi:10.3366/film.2020.0149.
   Web of Science ®Google Scholar
• Malham, D. G. 2001. “Toward Reality Equivalence in Spatial Sound Diffusion.” Computer Music Journal 25 (4): 31–38. doi:10.1162/01489260152815279.
   Web of Science ®Google Scholar
• Martin, A. 2011. “Turn the Page: From Mise En Scène to Dispositif.” Screening the Past 31: 1–15. https://www.screeningthepast.com/issue-31-first-release/turn-the-page-from-mise-en-scene-to-dispositif/
   Google Scholar
• McCance, D. 2012. Medusa’s Ear: University Foundings from Kant to Chora L. Albany, NY: SUNY Press.
   Google Scholar
• McLuhan, M., and E. McLuhan. 1988. Laws of Media: The New Science. Toronto: University of Toronto Press.
   Google Scholar
• Metz, C.1986.The Imaginary Signifier: Psychoanalysis and the Cinema. Translated by C. Britton, A. Williams, B. Brewster, and A. Guzzetti. Bloomington: Indiana University Press.
   Google Scholar
• Meyer, C. 2015. “Picture This: ‘Earfilms’ Unspools through the Audience’s Imagination.” The Sacramento Bee. https://www.sacbee.com/entertainment/movies-news-reviews/article14612897.html
   Google Scholar
• Murray, J. H. 2017. Hamlet on the Holodeck: The Future of Narrative in Cyberspace. Updated ed. Cambridge, MA: MIT Press.
   Google Scholar
• Oliveros, P. 2011. “Auralizing in the Sonosphere: A Vocabulary for Inner Sound and Sounding.” The Journal of Visual Culture 11 (2): 162–168. doi:10.1177/1470412911402881.
   Google Scholar
• Parente, A., and V. de Carvalho. 2008. “Cinema as Dispositif: Between Cinema and Contemporary Art.” Cinémas: Revue d’études Cinématographiques/Cinémas: Journal of Film Studies 19 (1): 37–55. doi:10.7202/029498ar.
   Google Scholar
• Ross, M. 2020. “Virtual Reality’s New Synesthetic Possibilities.” Television & New Media 21 (3): 297–314. doi:10.1177/1527476418805240.
   Web of Science ®Google Scholar
• Rumsey, F. 2012. Spatial Audio. New York: Routledge.
   Google Scholar
• Schrimshaw, Will. 2013. “Non-cochlear Sound: On Affect and Exteriority.” In Sound, Music, Affect: Theorizing Sonic Experience, edited by M. Thompson and I. Biddle, 27–43. London: Bloomsbury Publishing.
   Google Scholar
• Sterne, J. 2003. The Audible Past: Cultural Origins of Sound Reproduction. Durham, NC: Duke University Press Books.
   Google Scholar
• Summers, Jason E. 2008. “What Exactly Is Meant by the Term ‘Auralization?’.” The Journal of the Acoustical Society of America 124 (2): 697. doi:10.1121/1.2945708.
   PubMed Web of Science ®Google Scholar
• Szczepaniak-Gillece, J. 2016. “Revisiting the Apparatus: The Theatre Chair and Cinematic Spectatorship.” Screen 57 (3): 253–276. doi:10.1093/screen/hjw030.
   Web of Science ®Google Scholar
• Tavaglione, R. 2017. “Ambisonics, VR and New Audio Frontiers.” Pro Sound News, International 39 (7): 32–33,35. https://www.proquest.com/docview/2081757308/abstract/AFC4C290A03E4EDDPQ/1
   Google Scholar
• Thompson, E. 2012. “Sound, Modernity and History.” In The Sound Studies Reader, edited by Jonathan Sterne, 117–129. New York: Routledge.
   Google Scholar
• To Sleep To Dream. 2020. Aurelia Soundworks. Accessed 11 April 2022. https://www.aureliasoundworks.com/portfolio-item/to-sleep-to-dream/
   Google Scholar
• Verma, N. 2012. Theater of the Mind: Imagination, Aesthetics, and American Radio Drama. Chicago: University of Chicago Press.
   Google Scholar
• Voegelin, Salome. 2016. “Sonic Words and Sonic Fictions: Writing the Ephemeral.” In The Routledge Companion to Sounding Art, edited by M. Cobussen, V. Meelberg, and B. Truax, 61–70. New York: Routledge.
   Google Scholar
• Wright, L. 2014. “Hearing Is Believing: U.S. Premiere of EarFilms an Interview with the Creators of EarFilms.” UAB’s ASC Magazine 3 (1): 40–45. https://issuu.com/uabasc/docs/2014_summerfall_magazine
   Google Scholar
• Zhang, W., P. Samarasinghe, H. Chen, and T. Abhayapala. 2017. “Surround by Sound: A Review of Spatial Audio Recording and Reproduction.” Applied Sciences 7 (5): 532. doi:10.3390/app7050532.
   Google Scholar