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 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 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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