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 MoreForms of Sound: the different types of audio
Research Note on the lack of complexity in the delineation of sound elements in films, adding levels of complexity and specificity/detail to provide a list of sound forms.
Read MoreThe Screenplay as Haiku: Haibun poetics in Giler and Hill's "Alien"
Walter Hill and David Giler’s Alien script flows like a punchy haiku poem or, maybe more accurately, takes on many of the characteristics of the prosimetrum compositional qualities of Matsuo Basho’s haibun poetry.
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.
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