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FILM sound










Having just completed an online film course which included doing some practical exercises on adding soundtrack, and coincidentally watching Takovsky’s The Sacrifice for the first time, it seemed a good time to collect together a few links to film sound. This is both how sound is used in film and films that have sound themes like Coppola’s The Conversation. The links centre on Coppola’s The Conversation and Tarkovsky’s The Sacrifice.

* Sound Upon Sound: The Conversation

Clair Norelli, PopOptiq, 10 Jan 2011

This is the work of Walter Murch editor and sound designer. Just re-watched it for about the 8th time and the more you watch it the more you see things, or see things you’ve had pointed out..

* “He’d Kill Us If He Had The Chance”: Coppola’s The Conversation and Film Sound

Post from Phillip Brophy, The Seventh Art, 11 Feb 2008

* The Conversation 1972 Francis Ford Coppola
– under the category of : Distortion and Misperception

He’s done a set of film sound posts on different sound themes, which can be found here:

* Historical Markers of the Modern Soundtrack

* Listening to The Conversation

David C Ryan, Identity Theory, 10 March 2012

An essay on The Conversation which does not deal how sound is used in the film, but here just the same.

* The Sound Film Man

FilmSound.0rg does Walter Murch

* With The Conversation, Walter Murch made the editor the author

Charles Bramesco, The Dissolve, 20 April 2015

Which links to other The Conversation posts and a forum discussion on The conversation’s “…sound, music, timing, and more.”

* The Power of Sound and Editing (The Conversation and Psycho)

Wael Khairy, The Cinephile Fix, 17 Nov 2009

* The Act of Listening #16: Tarkovsky and mystery

Rob Szeliga, Sound designer, 17 December 2016

* Sound in Tarkovsky’s Sacrifice

Interview with Owe Svensson, Swedish Sound mixer

Andrei Tarkovsky’s Musical offering: the law of quotation

Julia Shpinitskaya, Proceedings of the World Congress of International Association for Semiotics, 2014

* Essay by filmmaker Dimitar Kutmanov on how the use of sound creates narrative space

* Compositions of Crisis: Sound and Silence in the Films of Bergman and Tarkovsky
Phoebe Pua, August 2013

Thesis, 145 pp.

Abstract

This thesis examines seven films from the cinemas of Ingmar Bergman and Andrei
Tarkovsky—Bergman’s The Seventh Seal (1957), Through a Glass Darkly (1961),
Winter Light (1963), and The Silence (1963), and Tarkovsky’s Stalker (1979),
Nostalghia (1983), and The Sacrifice (1986).

These films were chosen as they represent the deepest periods of two directors’
engagements with the possible death of God and the subsequent loss of intrinsic
existential meaning—topics with which this thesis is principally concerned.

As a starting point, this thesis argues that the films present the silence of God as the primary indicator of God’s absence from the human world. Becoming aware of this silence thus causes one to interrogate religious certainties which have hitherto been taken to be timeless and true. This thesis then contends that, when faced with this silence and its implications, Bergman desperately sought evidence of God’s existence while Tarkovsky unyieldingly maintained an attitude of faith.

The directors’ progressions toward these contrasting positions are evident through the uses of sound elements in their films. As Bergman unsuccessfully pursued evidence of God’s existence, the soundscapes in his four films become increasingly minimal. The sparse use of sound reveals Bergman’s conception of a Godless void. On the other hand, metaphysical silence in Tarkovsky’s films was not perceived as emptiness. Instead, “silence” in his films was, paradoxically, often depicted through complex layers of sounds. Presented as manifestations of the metaphysical, the sounds of “silence” in Tarkovsky’s films consequently become affirmations of faith.

Through this sound-based approach to film analysis, this thesis sets out to explain why Bergman and Tarkovsky understood metaphysical silence so differently by examining how they portrayed literal silences.



July 16, 2017 Posted by | film sound | | Leave a comment

FILM WEBSITE PODCAST Intercut





FILM POSTER paths of Glory [2]



Why use my own words when those of the website are readily available and, well, they know what they’re doing. I’m just shining my spotlight on another corner of the film world magnificently exposed to everyone – film expert, buff, film student, even those unsure about film over book – through the wonders of the interweb:


INTERCUT is a film podcast supported by the #yegfilm collective which explores a love of film, the process of filmmaking, and filmmakers themselves.


I started with Dailies #1 purely because it has Michael Douglas in Kubrick’s 1957 Paths of Glory as it’s cover. Think it’s time to watch that again. What a pleasure to hear them start talking about Bela Tarr. Since I’ve spent hours rewinding the opening cow sequence of Tarr’s Satantango, hearing anyone at all talking about his films is really exciting.

My Tarr’s can be found in this search on Cutting on the action. Slow, slow film, requires slow, long posts.

N.B. I’m not a film expert, I just watch films and dream of making my own. (The making equivalent of the guy working in the New York restaurant as a waiter who says he’s an actor, usually seen as a scene in a film…). So don’t expect illumination: you might be disappointed. Anywhere I have written at length about a film is mostly me working through things about a particular film I’ve just seen. It won’t be expert analysis or criticism. Or if turns out to be either or both, that’s probably purely accidental.


P.S. Check out these images of Paths to Glory. There’s a whole set of posts in there on colour and black & White film…

….note the way light rays and blocks of light on objects work so well in monochrome.



June 23, 2013 Posted by | Bela Tarr, film, film analysis, film blog, film directors, film editing, film podcast, film production, film reflexivity, Film script/screenplay, film short, film sound, film still, film watching | , | Leave a comment

FILM SOUND Lucrecia Martel — “a decidedly polyphonic cinema”



Lucrecia Martel — “a decidedly polyphonic cinema”


Dominique Russell in Jump Cut


5 pages including plenty of pics / stills including references/notes



June 23, 2011 Posted by | film sound | , | Leave a comment