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8120 results in Fluid dynamics and solid mechanics

Page 19 of 406

  • 9 - The Advent of Digital Sync Sound

  • Budhaditya Chattopadhyay
  • Book:
    Sound in Indian Film and Audiovisual Media
    Published by:
    Amsterdam University Press
    Published online:
    20 February 2024
    Print publication:
    11 December 2023, pp 155-168

  • Summary

    Abstract: In the ninth chapter I study the advent of digital sync sound and the resultant (re-)emergence of spatial awareness in Indian cinema’s ‘digital era’. Since the late 1990s, a large-scale conversion from analogue recording and production practices to digital technologies has been taking place in Indian cinema. Digital technology has been integrated into the production and post-production stages of filmmaking, as well as to reproduction and projection formats. This chapter carefully studies how the processes of digitalization have made a substantial impact on the narrative strategies and aesthetic choices of extant cinematic sound production, informing the creation of spatial presence in film space via novel modes of interplay between quasi-diegesis and mimesis.

    Keywords: Indian cinema, film history, digital technology, sync sound, spatial presence

    The Auditory Setting in the Digital Era

    It isn’t difficult to observe that sound in Indian films has been inconsistently produced due to evolving phases of production practices, affected by technological innovations and shifts. There have been phases of sound practice (such as the entire ‘dubbing era’), that cared less about quality, giving more importance to the typical narrative tropes such as songand- dance sequences, dramatic use of sound effects, studio processing, sound editing, and dialogue replacement, as explained in chapter 6. However, there are also phases such as the ‘digital era’ (2000–) where some degree of careful and creative rendering of sound is observed. In this light, I consider the advent of digital technology in the form of ‘sync sound’ and surround design in Indian cinema to be significant, given the evolution of sound use through earlier phases of Indian cinema’s production practices. The scholarly perspectives on sound production in the digital era in Hollywood (Kerins, 2011, 2006; Sergi, 2004; Sonnenschein, 2001) and the aesthetic impacts of digital production practices on the cinematic experience have often been described by film scholars as ‘real’ (Altman, 1992), ‘sensorial’ (Sobchack, 2005), or ‘authentic’ (Biancorosso, 2009). Although these expressions cannot be uniformly applied to Indian cinema in the context of its historical trajectory, much can be discussed along these lines. As I have mentioned in the Introduction and earlier chapters, mainstream Indian film’s general tendency has been to ignore subtleties of sound while reconstructing the pro-filmic space into film space.

  • THE METRIC OPERATORS FOR PSEUDO-HERMITIAN HAMILTONIAN

  • Part of
  • WEN-HUA WANG, ZHENG-LI CHEN, WEI LI
  • Journal:
    The ANZIAM Journal / Volume 65 / Issue 3 / July 2023
    Published online by Cambridge University Press:
    23 October 2023, pp. 215-228

  • The Hamiltonian of a conventional quantum system is Hermitian, which ensures real spectra of the Hamiltonian and unitary evolution of the system. However, real spectra are just the necessary conditions for a Hamiltonian to be Hermitian. In this paper, we discuss the metric operators for pseudo-Hermitian Hamiltonian which is similar to its adjoint. We first present some properties of the metric operators for pseudo-Hermitian Hamiltonians and obtain a sufficient and necessary condition for an invertible operator to be a metric operator for a given pseudo-Hermitian Hamiltonian. When the pseudo-Hermitian Hamiltonian has real spectra, we provide a new method such that any given metric operator can be transformed into the same positive-definite one and the new inner product with respect to the positive-definite metric operator is well defined. Finally, we illustrate the results obtained with an example.

Page 19 of 406