Teaching Sound: Aesthetics & Praxis
Abbate, Carlos and Svensson, Blom and Beck, Jack and Coke, Charis and Gato, Goncalo and Trafton, John and Novack, David and Preminger, Aner and Mikheeva, Julia and Bricca, Jacob and Adriana, Sa and Faria, Regis Rossi and Almas, Almir and Ramos, Luis and Methot, Maurice and Palving, Rune and Treske, Andreas and Ufuk, Önen and Kruszielski, L and De Le Torre, Andres and Finch, Roy and Docherty, Mary Jane (2025) Teaching Sound: Aesthetics & Praxis. 21st Century Film, TV & Media School, 5 (1). CILECT - The International Association of Film and Television Schools, Sofia, Bulgaria. ISBN 978-619-7358-20-9
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This volume aims to share the current critical and historical research, aesthetic theories and practices, and pedagogical approaches to teaching sound for film and media. It offers an expansive perspective on film and media sound that ranges from the practical art and craft of production sound recording to the more research-based interdisciplinary field of Sound Studies. It aims to present how we conceptualize, practice, research and teach the many forms of sound in film across contrasting institutional and cultural contexts that prevail in CILECT film schools today.
We believe that this volume is timely. Since the turn of the 21st century, the field of sound for film and media has undergone a profound transformation, which one can almost characterize as a Copernican revolution. While thirty years ago, the field was mostly centred on film and television sound, today, with the emergence of new media technologies and practices, it has become a dynamic and heterogeneous field that includes gaming, immersive media, media art, music and more experimental interdisciplinary interactive work. This period has also seen a corresponding growth in the amount and variety of scholarly research focused on sound for the screen, ranging broadly from strictly historical to purely theoretical works.
While we originally intended for the articles in this book to represent a broader range of topics and regional perspectives, we are still satisfied that this collection offers a comprehensive overview of the current developments in the different areas related to the study and teaching of sound for film and media.
The book consists of a collection of 19 specialised articles organized into four sections. Part One – Teaching of Sound – consists of articles that provide distinctive pedagogical strategies for teaching sound; Part Two – Aesthetics – contains articles that provide critical analyses of the relationship between sound and image through the study of various films. Part Three – Research – offers examples of practice-based research conducted by producing experimental works using immersive and interactive technology. Finally, Part Four - Sound Praxis – reveals creative and technical best practices used in the process of designing sound for film and media.
This volume has an eclectic and multifaceted quality that reflects the heterogeneous nature of the field it represents. However, while each article focuses on a distinct subject matter, they also explore in various ways common sound-related aesthetic and theoretical issues that should be of relevance to all of us who teach, study, research and/or practice the art and craft of sound for the screen in an age of media convergence and rapidly evolving technological and aesthetic practices.
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