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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)
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David Annwn Jones

Stoker’s Dracula (1992) with its often vertiginous, swirling camerawork was created with a computercontrolled montage editing system; it was one of the first Gothic horror films to be cut and sound-edited on video by computers. Coppola also supplied a montage of visual effects and sly cinematic references: the human arms holding flickering lights in Dracula’s castle are culled from Jean Cocteau’s La

in Gothic effigy
Tom Whittaker

abruptly cut midway through as two armed policemen force themselves into the room to take Ángel away for questioning. In a final defiance of his virility, Ángel continues to have sex until he orgasms before answering back to one of the police officers, who then hits him with his gun. In coinciding with the eruption of police brutality, the suddenness to the cut of the song – a crude sound editing technique which has been used instead of fading the music out more gradually – points to the violently enforced silencing of the delinquent. In both its presence and then blunt

in The Spanish quinqui film
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Andy Birtwistle

. 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, Kennedy and Burton are filmmaking practices that seek to address the codes and conventions of cinema itself, and which work to destabilise

in Cinesonica
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
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
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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