 |
|
|
|
|
BUY Via PayPal. Prices in AU$. Postage is fixed rate airmail for all countries.
Cinesonic:
Cinema & the Sound of Music
$21
Plus $7 postage
Proceedings from the 2nd CINESONIC Conference
Edited by Philip Brophy
224 pgs bound softback
Published by the Australian Film TV & Radio School, Sydney
Introduction
The feverish inquiry into film sound and music continues. It induces delirium, hysteria, exhaustion: too many films; so many histories; a daunting yet exciting expanse of ground to be covered. The fact remains that trends, directions, formations and even epochs are occurring in the cinema with unnerving momentum, yet possibly never before has there been such a lack of concurrency in the writing of film. Ultimately, these are exciting times whose critical silence may give rise to a new critical voice for that stuffed animal in the glass cabinet, Film Theory.
What better way to listen for new voices than to cast one's ear toward the ceaseless and beautiful din of music which surrounds us? This collection of articles explores the phonographic fringes of musical vibrations on the film soundtrack and its diaspora beyond the theatre. Supermarket muzak, 'Indian' tom-toms, hypertensive R'n'B, radicalized folk, noir jazz, grand symphonies, Lang's acoustics and Welles' vocals &emdash; each are examined and revealed in a cinematic light. 'Music' is possibly too rich and potent a term to employ when discussing the film score and its capacity to bleed beyond itself, for music on the film soundtrack becomes something else &emdash; part phonological apparition, part acoustical sensation, part harmonic . "The sound of music" is a suitably erotic phrase which suggests the way music can be more than its language and content, and the 'aura' of music created by its presence of the film soundtrack is to be credited for the complexity we term 'sound-image fusion'.
Part 1:
Issues in Film Scores & Sound Design
Randy Thom in conversation
DESIGNING A MOVIE FOR SOUND
Referenced films: Apocalypse Now, Once Upon A Time in the West, Forrest Gump, Eraserhead, The Black Stallion, Contact, Wild at Heart.
Francois Musy in conversation
RECORDING FOR GODARD
Referenced films: Hail Mary, Passion, Prenom: Carmen, Soigne Ta Droite, King Lear.
David Shea in conversation
REINVENTING FILM SCORES
Referenced films: A Better Tomorrow, Shock Corridor, Fellini's Satyricon, Tom & Jerry.
Part 2:
Transmissions from Beyond the Cinema
Kodwo Eshun
THE MICRORHYTHMIC PNEMACOSM OF HYPE WILLIAMS
Referenced videos: by Hyper Williams &emdash; Missy Elliot, Busta Rhymes, Busta Rhymes with Janet Jackson, Ginuine &emdash; and by Michel Gondry &emdash; Daft Punk.
Joseph Lanza
MY AISLES OF GOLDEN DREAMS: The Beauty of Supermarket Soundtracks
Referenced films: Grand Hotel, Bedazzled, Rome Adventure, Love in the Afternoon, The Apartment, The Stepford Wives, There's Something About Mary.
John Conomos
SCENIC DARKNESS: Towards an Aesthetic of Jazz in Film Noir
Referenced films: Laura, Force of Evil, Anatomy of a Murder, The Man With The Golden Arm, The Sweet Smell of Success.
Part 3:
Encodings of Orchestral Statement
Claudia Gorbman
SCORING THE OTHER: Musical Coding of Indians in the Western
Referenced films: Stagecoach, Broken Arrow, A Man Called Horse, Dances With Wolves.
Evan Eisenberg
THE WORLD HEARD: Music, Nature, Film
Referenced films: Hail Mary, The Magic Flute, Ran, Flying Down To Rio, 2001 - A Space Odessy, Run Lola Run, Lucky People Centre International.
Part 4:
Constructs of Recorded Sound
Adrian Martin
INTENSITY, UNCERTAINTY & DISSIMULATION: Fritz Lang's Sound
Referenced films: House By The River, Scarlet Street.
Francois Thomas
ORSON WELLES' TURN FROM LIVE RECORDING TO POST-SYNCHRONIZATION: A Technical & Aesthetic Revolution
Referenced films: Citizen Kane, The Lady From Shanghai, Othello, F For Fake.
Philip Brophy
HOW SOUND FLOATS ON LAND: The Suppression and Release of Folk & Indigenous Musics in the Cinematic Terrain
Referenced films: Mix Me A Person, An Independent Life, Kwaidan, Black River.
Contents of this page © Philip Brophy unless otherwise specified