MK-2-141

• Media culture 2014 - Sound for media
• Media culture 2015 - Sound for media
• Media culture 2016 - Sound for media
• Media culture 2017 - Sound for media
• Media culture 2018 - Sound for media
• Film and media 2019 - Sound for media
• Film and media 2020 - Sound for media
• Film and media 2021 (film) - Sound for media
• Film and media 2022 (film) - Sound for media

1 (2022-08-01 to 2022-10-23)

Swedish

Compulsory

First

2

5 cr

B. BEGREPPSLIG- OCH HANTVERKSMÄSSIG KOMPETENS inom Film och Media
A. KREATIVITET
D. KOMPETENSEN PROFESSIONELL SAMVERKAN inom kulturfältet

Students can do foley and dubb.

Knowledge
- You have an overall knowledge of theories regarding creative processes for sound work in film and television production and understand the importance of planning for control and quality.
- You know the development in film and TV sound and are familiar with the most important references in literature, TV series and films as inspiration for your own creative activities.
- You know how to work on the set and in a sound studio with associated professional hardware and software.
- You have knowledge of the division of labor within a sound team.

Skills
- You master used terminology and can use professional audio equipment, field equipment, studio equipment, Protools and the most important plug-ins.
- You know the most important work processes, sound design, sound recording, sound editing, dub and foley.
- You can adapt needs to costs and can budget for the sound department's needs both in terms of field and post production.

Approach
- You understand the importance of technical know-how as a basis for developing your creativity.
- You can adapt your creative business to work in different types of teams and understand the importance of a good collaboration.
-You adapt your creative activity to given circumstances in order to achieve common goals in a group.

Course starts with introduction where students get ideas to manage the course. Students read and present litterature on sound design and sound editing. Students analyze soundtracks. Practical works consist of laying tracks for a film. Students get help in process. Students write a paper where they analyze the process on doing the actual sound. This paper shall be finished before the feedback.

Introduction in medieproduction.
MK-2-113

David Bordwell & Kristin Thompson: Film Art - An Introduction,
kapittel "Sound in the Cinema". McGraw Hill 1997, 2001, 2004
el. nyare upplagan.

Larry Sider & Diane Freeman: Soundscape. The school of sound
lectures 1998-2001. Wallflower Press 2003.

David Sonnenschein: Sound Design. The Expressive Power of
Music, Voice, and Sound Effects in Cinema. Michael Wiese
Productions 2001.

Rick Altman: Sound Theory, Sound Practice. Routledge 1992.

Elisabeth Weis & John Belton (eds.): Film Sound: Theory and
Practice. Columbia University Press 1985.

Pauline Reay: Music in Film - Soundtracks and Synergy.
Wallflower Press 2004.

Tomlinson Holman:
Surround Sound, 2008.

John Purcell:
Dialogue Editing for Motion Pictures, 2007.

Vincent LoBrutto:
Sound on Film - Interviews with Creators of Film Sound, 1994.

Vanessa Theme Ament:
The Foley Grail, 2009.

Ric Viers:
The Sound Effects Bible, 2008.

• Lectures - 40 hours
• Excursions and demonstrations - 8 hours
• Individual- and group instruction - 8 hours
• Practical exercises - 16 hours
• Small-group work - 28 hours
• Project- and production work/artistic activities - 16 hours
• Individual studies - 14 hours
• Seminars - 5 hours

• Total workload of the course: 135 hours
• Of which autonomous studies: 135 hours
• Of which scheduled studies: 0 hours

Participation in tuition

Essays, reports, productions and portfolio

Attending classes, making required assignment and being present in practical exersises.

• Lindfors Kauko
• Lönnfeldt John

Lindfors Kauko

https://arcada.itslearning.com/ External link

No limit (6 students enrolled)

12 months after course has ended

2022-08-10 to 2022-09-06

Date will be announced later - Reports and productions