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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
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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)
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
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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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
Abstract only
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