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
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 soundediting software in
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 soundediting.
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
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 soundedits
might be rendered audible by the varying levels and qualities of camera
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 soundediting
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 Robert Guédiguian
The film’s narrative is most fully
Similarly, while deconstruction provides a number of ways in which we might
make sense of Birdman’s audible soundediting, 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
, 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, soundediting, 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