The Kingdom of Ants - CinefestOZ 2022 Questionnaire
Read MoreThe Kingdom of Ants - Full Screenplay
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 MoreA Tale of Ten Titles: The iterative cyclic process of candidacy titling
A journey through the ten titles featured in the twelve drafts of my application for PhD candidacy, which provides a compelling and engaging procedural exemplary of my methodological approach.
Read MoreThe Möose: writing audio to be heard
“Only the river repeats itself, and repeats itself, without ever repeating itself”
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.
Read MoreVoice-Over as Text Box: The aural timing and representation of voice-over in “The Garden of Edena/Chapter 3: The Goddess”
In The Garden of Edena: The Goddess Jean “Moebius” Giraud utilises a graphically represented voice-over to take us from a dream, back in time, while also placing us in the present, and then, through a cut, back into the next main narrative element.
Read MoreObserving, Locating, and Analysing Audio-Vision: Chion and Bordwell
Michel Chion’s notion of audiovisual phrasing and David Bordwell’s six-p methodology for uncovering the poetics of cinema, when joined, will provide a solid methodological approach for the location and critical analysis of cinematic audio-vision.
Read MoreComic-to-Script Analysis
Let’s just, for a minute, assume that comics have audio. Of course, they don’t. We can’t hear the comic. But the use of onomatopoeia, and other expressive graphical representations of sound, allows us to read what we should be hearing. So, let’s assume we can hear the comic, that the comic medium has audio-visuality.
Read More