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Theories and histories
Andrew Dix

Film (New York: Knopf). Wonderfully eloquent, learned and suggestive dialogues. Drawing upon his work on such films as Apocalypse Now (1979) and The English Patient (1996), Murch, prompted subtly by Ondaatje, teases out the aesthetics of picture and sound editing. Orpen, Valerie (2002), Film Editing: The Art of the Expressive (London: Wallflower). Good starting point: lacks Fairservice’s substantial historical detail, but clear, concise and featuring helpful case studies. Rohdie, Sam (2006), Montage (Manchester: Manchester

in Beginning film studies (second edition)
Douglas Morrey and Alison Smith

manipulation of sound editing Rivette can even bring the tones of the Racinian verse spoken onstage directly into connection with Claire, isolated in her flat. Rivette’s 35mm camera, however, while it moves easily around the length, breadth and height of the room, keeps a distance from the performance space, rarely intruding itself into these interactions. In fact it remains self-consciously detached, in a position comparable to

in Jacques Rivette
Andy Birtwistle

blimp. Mechanical sounds produced by the camera are constructed as problematic in filmmaking practices, like those developed by the Hollywood studio system, which prioritise the concepts of flow and continuity. In classical cinema, sounds produced by the camera are prohibited not simply because they signal the means of production, but also because sound edits might be rendered audible by the varying levels and qualities of camera

in Cinesonica
Open Access (free)
Beyond the burden of the real
Paul Henley

first film, Blunden Harbour (1951) , Gardner used asynchronous drumming and shamanic chanting to suggest transcendent significance. In his later ethnographic films, the sound editing becomes progressively more sophisticated. In Dead Birds , the soundtrack is greatly enriched but largely in a straightforward realist manner. In Rivers of Sand ( 1974 ), however, it begins to take on a more metaphorical function. Early in the film, the sound from a shot of a donkey braying in synch is carried

in Beyond observation
Paul Henley

and the first-hand acting out of key aspects of that life that the film-maker achieves ethnographic understanding. Also important, however, is the principle that this immersion should always involve active collaborative relationships with the subjects. The making of Kalanda was collaborative in a number of different regards. In a precise technical sense, inspired by the example of Steven Feld's ground-breaking work among the Kaluli of Papua New Guinea, Ferrarini used sound editing software in

in Beyond observation
Quentin Falk

, from the opening sound edit (soft dance music to deafening machine noise), with a tracking shot set up in a real factory introducing the girls. The car park scenes are dramatically lit and edited, and when Eve climbs to the roof and a train speeds by below, we fear tragedy is looming. And locating personal tragedy in a carnival setting clearly references the French classic of poetic realism, Les Enfants du Paradis (1945). 11 Mellor’s positive references to both the film’s ‘noise’ and its allusion to Marcel Carné’s 1945 classic are, separately, contradicted in

in Charles Crichton
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Andy Birtwistle

affective level. Yet none of these aspects of the soundtrack are addressed by the dominant conceptual modes applied to the analysis of film. Similarly, while deconstruction provides a number of ways in which we might make sense of Birdman’s audible sound editing, as a conceptual mode it has no way of engaging with the visceral, affective shocks produced by the film’s sonic construction. What we witness in the films of Smith

in Cinesonica
Resonant radio dramaturgies
Farokh Soltani

, so we were really trying to cheat the gear into giving us responses we didn't have’ (Greenhalgh 2013 ). It is perhaps for these reasons that Maggs has pioneered the use of Surround Sound and digital audio workstations in radio production. Early in 1993, while planning to produce the third series of The Hitch-hiker’s Guide to the Galaxy , he requested ‘to use Macintosh-based digital sound editing and Dolby Pro Logic Surround Sound’ (Maggs 2005 ), even though very few listeners at the time had access to equipment that could play this. I shall discuss digital

in Radio / body
Films since 2000
Joseph Mai

bodies in love pours over into a representation of the landscape as well: Berta mentions shooting one scene at five in the morning in order to get blues and the reflections of the sunrise on the rocks, which are filmed in the same colours and light as the bodies themselves. 5 We see such incursions on both sides, and it is underlined by sound editing and frame composition as well. When Daniel buys Marie-​Jo a boat for her birthday, she gets a phone call from Marco who wants to sing ‘Happy Birthday’   98 98  Robert Guédiguian The film’s narrative is most fully

in Robert Guédiguian
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Listening to installation and performance
Ming-Yuen S. Ma

, therefore they must be, and are approached differently in the development of a work.’ 66 Ideas and practices cited by the artist-respondents on how they work with sound include site-specificity, music composition, social engagement, field or location recording, as well as voice, listening/perception, resonance, background noise, sound editing, and production. In his interview, Northern California-based Cahuilla artist Lewis deSoto discusses his installation AIR (1989), created during a residency at Headlands Center for the Arts in Sausalito, California. His detailed

in There is no soundtrack