Catherine Van Der Donckt’s Selected Bibliography:

Sound in Quebec cinema



Van Der Donckt’s entry Sound in Quebec Cinema takes a regional approach that focuses her extensive experience working as a sound recordist and desginer in Quebec cinema onto a background of sound theory advanced by Quebec sound creators including Claude Beaugrand, Marcel Carrière, and Robert Lepage and their continental counterparts Michel Fano, Michel Chion and Skip Lievsay.


Essential Reading:



Beaugrand, Claude. "l’Arbre qui pousse". 24 images. No. 60, 1992.

Bonitzer, Pascal. Regard et la Voix. Paris: Union Générale d’Editions, 1976.

Deshays, Daniel. De l’écriture sonore. Paris, Klincksieck, 2006
Written by a “sound director”, Deshays defines the ties between images and sound. He describes the use of sound as a form of focusing without close-ups and differentiates two types of hearing; desired hearing, in which one selects what one wants to hear and achaïc hearing, based on fear reflexes. Deshays has worked with Chantal Akerman, Philipe Garel & Agnes Jaoui.
———. L'image Sonore. One of Deshays lectures can be seen on the web.

Fano, Michel. “Vers une dialectique du film sonore”. Cahiers du cinéma. No. 152, 1964.
Fano is a sound avant-garde-ist working with such directors as Robbe-Grillet, Haroun Tazieff, Gérard Vienne and François Bel. Here, Fano, who considers himself a “sound score composer” describes his creation based on four approaches: 1: The Musicality, or use of the dynamics of frequencies. 2: The Silence, or composed silence and the dead silence. 3: The structural, or rhythms, the change of pace, the percussion side of effects and 4: The contrast of levels.

Freeman, Diane, Larry Sider & Jerry Sider, Eds. “Soundscape”. The School of Sound Lectures 1998-2001. Wallflower Press, 2003.

Gryzik, Antoni. “Le rôle du son dans le récit cinématographique”, Études cinématographiques. No. 139-141, Éditions Lettres Modernes Minard, 1984.

Larochelle, Réal. “Écouter le cinéma”, Cinéma les 400 coups, 2002.
Réal gathers a compilation of authors discussing a diverse range of issues around sound in cinema. Particular focus is put on Quebec creators including Claude Beaugrand, Marcel Carrière, and Robert Lepage. He also invites Michel Fano, Michel Chion, Skip Lievsay to discuss their approaches.

“Sons et Narrations au Cinéma”. Protée. Vol. 13, No. 2, Chicoutimi, 1985.


Bibliography:


Barnier, Martin, “Naissance d’un son experimental (L’Âge d’or, le sang d’un poète)”, Nicole Brenez, Christian Lebrat, Jeune, dur et our! Une histoire du cinéma d’avant-garde et experimental en France. Paris & Milan: Cinémathèque française & Mazotta, pp.149-153.

Beaugrand, Claude. "l’Arbre qui pousse". 24 images. No. 60, 1992.

Bonitzer, Pascal. Regard et la Voix. Paris: Union Générale d’Editions, 1976.

Bresson, Robert. Notes sur le Cinématographe. Paris: Gallimard, 2000.

Deshays, Daniel. De l’écriture sonore. Paris, Klincksieck, 2006
Written by a “sound director”, Deshays defines the ties between images and sound. He describes the use of sound as a form of focusing without close-ups and differentiates two types of hearing; desired hearing, in which one selects what one wants to hear and achaïc hearing, based on fear reflexes. Deshays has worked with Chantal Akerman, Philipe Garel & Agnes Jaoui.
———. L'image Sonore. One of Deshays lectures can be seen on the web.

Châteauvert, Jean. Des mots à l’image: la voix over au cinéma. Paris & Montréal: Méridiens-Klincksieck & Nuit Blanche, 1996.

Fano, Michel. “Vers une dialectique du film sonore”, Cahiers du cinéma. No. 152, 1964.
Fano is a sound avant-garde-ist working with such directors as Robbe-Grillet, Haroun Tazieff, Gérard Vienne and François Bel. Here, Fano, who considers himself a “sound score composer” describes his creation based on four approaches: 1: The Musicality, or use of the dynamics of frequencies. 2: The Silence, or composed silence and the dead silence. 3: The structural, or rhythms, the change of pace, the percussion side of effects and 4: The contrast of levels.

Freeman, Diane, Larry Sider & Jerry Sider, Eds. “Soundscape”. The School of Sound Lectures 1998-2001. Wallflower Press, 2003.

Khan, Douglas. Noise, water, meat: a history of sound in the arts. Cambridge: Mit Press, 1999.
La place du son dans l’art moderne et post-moderne.

Larochelle, Réal. “Écouter le cinéma”, Cinéma les 400 coups, 2002.
A compilation of authors discussing a diverse range of issues around sound in cinema. A particular focus is put on Quebec creators including Claude Beaugrand,
Marcel Carrière, and Robert Lepage. Larochelle also invites Michel Fano, Michel Chion, Skip Lievsay to discuss their approaches.

Lawrence, Amy. Echo and Narcissus: Women’s voices in Classical Hollywood Cinema. Berkeley: University of California Press, 1991.

Godard, Jean-Luc and Thierry Jousse. Les écrans sonores de Jean-Luc Godard: entretien de Thierry Jousse avec Jean-Luc Godard. Paris: France Culture, Harmonia Mundi, 2000.
L’idée est de le faire parler des sons de l’histoire, de son histoire avec le son, et si possible de son histoire à lui.

Murray, R. and Schafer, P. Le paysage sonore. Paris: Jean Claude Lattès, 1991.
Histoire de l’environnement sonore à travers les âges. Des bruits disparaissent d’autres naissent: le paysage sonore ne cesse de se transformer. Ouvrage épuisé mais de référence.

“Sons et Narrations au Cinéma”. Protée. Vol. 13, No. 2, Chicoutimi, 1985.


Filmography:


Bélanger, Fernand.
Passiflota (1985)
Sound design: Claude Beaugrand
Le trésor archange (1996)

Blackburn, Maurice.
Cine-crime (1969)
Sound design: Maurice Blackburn

Chabot, Jean.
Voyage en amérique sur un emprunté cheval (1987)
Sound design: Claude Beaugrand

Fano, Michel.
Le cercle des passions (1983)
La griffe et la dent (1976)
Dites-le avec des fleurs (1974)
L'éden et après (1970)
L'homme qui ment (1968)
Au pan coupé (1968)

Gagné, Jeannine.
Aube Urbaine (1995)
Sound design: Claude Beaugrand

Girard, François.
32 films brefs sur Glenn Gould (1994)

Hébert, Pierre.
La plante humaine (1996)

Leduc, Jacques.
Le plan sentimental (1978)
Sound design: Yves Daoust

McLaren, Norman.
Blinkity blank (1955)
Sound design: Maurice Blackburn
Le dernier glacier (1984)
Sound design: Claude Beaugrand

Morin, Robert.
Yes sir Madame (1994)