Two 1970s films by the German-Australian experimental film-maker Paul Winkler visually capture a duo of significant Sydney icons, Sydney Harbour Bridge and Bondi Beach, the visuals in each film supported asynchronously with minimal soundtracks. In this article Michel Chion's (2009) notions of palimpsest (the idea of sound film as silent film overwritten with sound) and porosity (the connections between different structural layers of a film), are examined and used as the basis of an analysis of the deployment of sound in these two films. Dominique Nasta's focus on psychologically imagined sound (subception) is then explored, with various possible imagined sounds subjectively derived from the Winkler visuals presented. Finally, existing and imagined sounds are discussed in relation to what Alex Gerbaz refers to as Winkler's 'fragmented aesthetic'.
{"title":"Palimpsest, porosity and subception: The heard and the unheard in Paul Winkler’s Bondi and Sydney Harbour Bridge","authors":"Steven J. Campbell","doi":"10.1386/ST.4.2.71_1","DOIUrl":"https://doi.org/10.1386/ST.4.2.71_1","url":null,"abstract":"Two 1970s films by the German-Australian experimental film-maker Paul Winkler visually capture a duo of significant Sydney icons, Sydney Harbour Bridge and Bondi Beach, the visuals in each film supported asynchronously with minimal soundtracks. In this article Michel Chion's (2009) notions of palimpsest (the idea of sound film as silent film overwritten with sound) and porosity (the connections between different structural layers of a film), are examined and used as the basis of an analysis of the deployment of sound in these two films. Dominique Nasta's focus on psychologically imagined sound (subception) is then explored, with various possible imagined sounds subjectively derived from the Winkler visuals presented. Finally, existing and imagined sounds are discussed in relation to what Alex Gerbaz refers to as Winkler's 'fragmented aesthetic'.","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2011-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123069601","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores multichannel sound and hypersonic audio and investigates the impact that cinematic technologies have had on our sonic perception and appreciation. The core methodology of these explorations has been through practice, and the evolution of a 7.1 surround sound and hypersonic composition and installation: auditoryum (Sarah Atkinson and Marley Cole, 2010). Through reflection upon this practice, this article addresses the ways in which auditoryum has foregrounded and extended theories of the soundscape and aural architecture. It will also discuss the impact of audio-related technological developments on soundtrack and sound design aesthetics, principles and practice.
{"title":"Surrounded by sound: the aesthetics of multichannel and hypersonic soundscapes and aural architectures","authors":"Sarah Atkinson","doi":"10.1386/ST.4.1.5_1","DOIUrl":"https://doi.org/10.1386/ST.4.1.5_1","url":null,"abstract":"This article explores multichannel sound and hypersonic audio and investigates the impact that cinematic technologies have had on our sonic perception and appreciation. The core methodology of these explorations has been through practice, and the evolution of a 7.1 surround sound and hypersonic composition and installation: auditoryum (Sarah Atkinson and Marley Cole, 2010). Through reflection upon this practice, this article addresses the ways in which auditoryum has foregrounded and extended theories of the soundscape and aural architecture. It will also discuss the impact of audio-related technological developments on soundtrack and sound design aesthetics, principles and practice.","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2011-08-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"113953142","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Sound matters: Towards an enactive approach to hearing media","authors":"Lisa M. Schmidt","doi":"10.1386/ST.4.1.33_1","DOIUrl":"https://doi.org/10.1386/ST.4.1.33_1","url":null,"abstract":"","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2011-08-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122497636","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Since its release in 2008, Steve McQueen’s Hunger has received critical acclaim forits powerful and uncompromising portrayal of the 1981 ‘dirty protest’ and subsequenthunger strike by Irish Republican inmates in Northern Ireland’s infamousMaze prison. In most instances, the focus of critics’ attention has been on the film’spolitical connotations, its set pieces – in particular the much talked about 22-minutedialogue scene at its heart – and, perhaps unsurprisingly given McQueen’s backgroundas a visual artist, its visual language. Yet it is the film’s use of sound, sowidely acknowledged by writers yet left relatively under-discussed, that is perhapsits most intriguing aspect. The relatively sparse use of dialogue in much of the filmaffords space for a rich and prominent use of sonic material – including musicalcues – and an attention to aural detail that mirrors that of the film’s visual imagery.In addition, a closer reading of the film reveals a more integral use of sound in theform of a series of recurrent sonic motifs that, over the course of the film, serve asan important structural tool, framing its narrative content while seemingly playingon established political associations to simultaneously affirm and nullify the sectariandivide of its characters. By exploring the motific content and context of bothHunger’s sound and composed, musical components, this article aims to provide aninsight into one of the most striking cinematic works to emerge in recent years.
{"title":"Sonic motifs, Structure and Identity in Steve McQueen’s Hunger","authors":"Adam Melvin","doi":"10.1386/ST.4.1.23_1","DOIUrl":"https://doi.org/10.1386/ST.4.1.23_1","url":null,"abstract":"Since its release in 2008, Steve McQueen’s Hunger has received critical acclaim forits powerful and uncompromising portrayal of the 1981 ‘dirty protest’ and subsequenthunger strike by Irish Republican inmates in Northern Ireland’s infamousMaze prison. In most instances, the focus of critics’ attention has been on the film’spolitical connotations, its set pieces – in particular the much talked about 22-minutedialogue scene at its heart – and, perhaps unsurprisingly given McQueen’s backgroundas a visual artist, its visual language. Yet it is the film’s use of sound, sowidely acknowledged by writers yet left relatively under-discussed, that is perhapsits most intriguing aspect. The relatively sparse use of dialogue in much of the filmaffords space for a rich and prominent use of sonic material – including musicalcues – and an attention to aural detail that mirrors that of the film’s visual imagery.In addition, a closer reading of the film reveals a more integral use of sound in theform of a series of recurrent sonic motifs that, over the course of the film, serve asan important structural tool, framing its narrative content while seemingly playingon established political associations to simultaneously affirm and nullify the sectariandivide of its characters. By exploring the motific content and context of bothHunger’s sound and composed, musical components, this article aims to provide aninsight into one of the most striking cinematic works to emerge in recent years.","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2011-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121597762","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"An audio-visual Gallivant: Psychogeographical soundscapes in the films of Andrew Ktting","authors":"Aimee Mollaghan","doi":"10.1386/ST.3.2.125_1","DOIUrl":"https://doi.org/10.1386/ST.3.2.125_1","url":null,"abstract":"","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2010-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128385878","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Surfing a political soundscape: Kathryn Bigelow's Point Break","authors":"Heidi Wilkins","doi":"10.1386/ST.3.2.97_1","DOIUrl":"https://doi.org/10.1386/ST.3.2.97_1","url":null,"abstract":"","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2010-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125393536","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"With one eye on: Viewing a sound installation","authors":"Lucia H Chung","doi":"10.1386/ST.3.2.117_1","DOIUrl":"https://doi.org/10.1386/ST.3.2.117_1","url":null,"abstract":"","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2010-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126859981","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
While we expect a dramatic feature film to use creative license in bringing the sound-track to life, does the same carte blanche approach apply for documentary? Does it, and should it, matter? This article highlights some of the problems and questions relating to the notions of realism and authenticity in the production of the documentary soundtrack. The production of the documentary film Gallipoli Submarine is used as a case study to examine the implications for practice.
{"title":"Authenticity and realism in documentary sound","authors":"L. Murray","doi":"10.1386/ST.3.2.131_1","DOIUrl":"https://doi.org/10.1386/ST.3.2.131_1","url":null,"abstract":"While we expect a dramatic feature film to use creative license in bringing the sound-track to life, does the same carte blanche approach apply for documentary? Does it, and should it, matter? This article highlights some of the problems and questions relating to the notions of realism and authenticity in the production of the documentary soundtrack. The production of the documentary film Gallipoli Submarine is used as a case study to examine the implications for practice.","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2010-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134257716","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Rich Voices in talky talkies: The Rich Are Always with Us","authors":"M. Shingler","doi":"10.1386/ST.3.2.109_1","DOIUrl":"https://doi.org/10.1386/ST.3.2.109_1","url":null,"abstract":"","PeriodicalId":253130,"journal":{"name":"The Soundtrack","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2010-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131250529","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：