The Kingdom of Ants is the practice driven creative component of my PhD exegesis. Its purpose is to explore and exercise literary writing as a way of putting audio into words in a feature length screenplay. I have always been fascinated by the aesthetic and synaestheic linkages (or cinestethics as Vivian Sobchack calls this relationship) between audio and the moving image in cinema and, specifically, in music videos. But in my PhD I look at how the written form of the cinematic screenplay can be utilised to represent the soundscape through the literary form.
Read MoreThe Kingdom of Ants - Script Outline
The Kingdom of Ants is the practice driven creative component of my PhD exegesis. Its purpose is to explore and exercise literary writing as a way of putting audio into words in a feature length screenplay. I have always been fascinated by the aesthetic and synaestheic linkages (or cinestethics as Vivian Sobchack calls this relationship) between audio and the moving image in cinema and, specifically, in music videos. But in my PhD I look at how the written form of the cinematic screenplay can be utilised to represent the soundscape through the literary form.
Read MoreScreen-To-Script: Fantastic Mr. Fox - Wes Anderson (2009)
The screenplay, which is the film’s procedural planning document and blueprint outlining what will be seen and what will be heard, is also a poetic literary text informing the dialogue between itself and the film’s creators by broadcasting mood, sensation, and feeling, emerging as literary representations of what Michel Chion calls, the film’s “audiovisual phrasing”: the placement of primary audiovisual synch points crucial for meaning and dynamics.
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