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 MoreThe Möose: writing audio to be heard
“Only the river repeats itself, and repeats itself, without ever repeating itself”
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 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.
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