Abstract
The practices of sound editing and mixing to be considered here are those developed within the Hollywood studio system. ‘System’, should be understood in a rigorous sense as necessitating a certain amount of standardisation (with respect to techniques and machinery) and a relatively strict division of labour. Nevertheless, these practices have become ‘normalised’ to a large extent outside of that system — they have had enormous impact on the film-making industries of other countries, for instance, and on independent filmmaking activities as well. My assumption is that not only techniques of sound-track construction but the language of technicians and the discourses on technique are symptomatic of particular ideological aims.
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