Conclusion: A Sounding of the FutureĬhapter 12. Mixing Man and Machine in Terminator 2: Judgment Day 207 Sound Mixing and Sound Design in Science Fiction Cinema: A Mixed Paradox 191Ĭhapter 11. Blade Runners: A Crisis in Voicing Authority, Identity, and Spectacle 169 Part VI. Genre Splicing: Horror and Science Fiction 129Ĭhapter 9. Surround Sound and Science Fiction 115Ĭhapter 7. From Sound Capture to Construction: Building the Lexicon of Sound Designs for Star Wars 93Ĭhapter 6. Suggestive Fragments in THX 1138 75Ĭhapter 5. The Convergence of Hollywood and New Wave Science Fiction 55Ĭhapter 4. Music and Speculation in 2001: A Space Odyssey 39Ĭhapter 3. Sound Design: Origins and Influences 17Ĭhapter 2. Includes bibliographical references and index.
Library of Congress Cataloging-in-Publication Data Whittington, William (William Brian) Sound design and science fiction / by William Whittington. Box 7819 Austin, TX 78713-7819 ∞ The paper used in this book meets the minimum requirements of ANSI/NISO Z39.48-1992 (R1997) (Permanence of Paper). U n i v e rs i t y o f T e x a s P r e ss, A u s t i nĬopyright © 2007 by the University of Texas Press All rights reserved Printed in the United States of America First edition, 2007 Requests for permission to reproduce material from this work should be sent to: Permissions University of Texas Press P.O. Issue #138 also includes coverage of Captain America: The Winter Soldier, Maleficent, The Amazing Spider-Man 2 and a piece on the visual effects of Godzilla, written by fxguide’s very own Mike Seymour.S o u n d D e s i g n a n d Science Fiction You can find out more on the article in this Cinefex blog post, which includes the thoughts on the revelations by such VFX heavyweights as Dennis Muren and Phil Tippett. This side of the story is being told in the upcoming issue #138 of Cinefex in a article by Stephen Czerkas. The filmmaker is noted and revered for his work on The Lost World (1925), King Kong (1933) and Mighty Joe Young. Cinefex publisher Don Shay once devoted an entire issue – number #7 -to O’Brien.īut now Cinefex has uncovered a murkier side to O’Brien’s notoriety, particularly in relation to his rivalry with producer Herbert M.
In visual effects history, one artist has traditionally stood out as a pioneer in stop-motion and effects photography: Willis O’Brien.
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