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List of all Relations in this Text

«Sound Design»
People
Brown Tregoweth (Chap. 2), Burtt Ben (Chap. 4, ), Cameron James (Chap. 4.3), Chion Michel (Chap. 4), Cooper Merian C. (Chap. 2), Coppola Francis Ford (Chap. 4, , 4.2), Elsaesser Thomas (Chap. 4.5), Hill Walter (Chap. 4.1), Hitchcock Alfred (Chap. 2, 3), King Kong (Chap. 2), Kubrick Stanley (Chap. 3), Lang Fritz (Chap. 2), Lean David (Chap. 3), Lucas George (Chap. 4), Macdonald Jimmy (Chap. 2), Mamoulian Rouben (Chap. 2), Murch Walter (Chap. , 4), Natali Vincenzo (Chap. 4.4), Pabst Georg W. (Chap. 2), Ruttmann Walter (Chap. 1), Sala Oskar (Chap. 3), Schoedsack Ernest B. (Chap. 2), Scorsese Martin (Chap. 4), Spielberg Steven (Chap. 4, 4.5, 4.3), Spivack Murray (Chap. 2), Vertov Dziga (Chap. 1), de Serk S. (Chap. 1)
Socialbodies
Deutsche Grammophon (Chap. 1), Dolby Laboratories Inc. (Chap. 4), Walt Disney Studio (Chap. 2), Warner Bros. (Chap. 2)
Mentioned
48 Hrs. (Chap. 4.1), Applause (Chap. 2), Blackmail (Chap. 2), Close Encounters of the Third Kind (Chap. 4.3), Cube (Chap. 4.4), Kameradschaft (Chap. 2), King Kong (Chap. 2), Lawrence of Arabia (Chap. 3), M (Chap. 2), Patéphone record player (Chap. 1), Raiders of the Lost Ark (Chap. 4.3), Spartacus (Chap. 3), Star Wars (Chap. 4, ), Terminator 2 - Judgment Day (Chap. 4.3), The Birds (Chap. 3), The Conversation (Chap. , 4), Trautonium (Chap. 3), Weekend (Chap. 1), Westfront 1918 (Chap. 2)
Keywords
Immersion (Chap. 4.5), Polysensualität (Chap. 1, 4, 4.5), Unification (Chap. 4.1), audiovisual dissonance (Chap. 4.2), montage (Chap. 1, 2), synchronicity (Chap. 3, 4), synthesis (Chap. 3)
Timespans
1900 – 1930, 1920 – 1950, 1950 – 1970, ab 1970, ab 1970, ab 1970, ab 1970, ab 1970, ab 1970

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