[Frameworks] Sound-centric films: excellence in sound design

[Jim Flannery]

Chion's work on David Lynch also spends a lot of time addressing sound, as well.

And _Eraserhead_ definitely belongs on the list for the initial question.


Sunday, November 14, 2021, 2:29:19 AM, you wrote:

>  Hi Andrew, 

> I know you asked about films and not books, but anyways this could be
> helpful: 

> As Rob suggested, Michel Chions book "Film, a sound art" goes in depth
> with any kind of sound design and connection to the visual of film.
> Interestingly it spares out experimental cinema as a whole. It has a
> huge list of referenced films and not seldom after watching a movie i
> pick up the book and see if there is anything Chion had to say about the
> sound. 

> Good luck and best, 

> Kris

> ---
> www.krislimbach.com

> Am 14.11.2021 11:16 schrieb Rob Gawthrop: 

>> Hi Andrew 
>> 
>> Your initial statement raises the ongoing problematic of the ontology of film: if the statement was ...and make exceptional use of light, then the dominance of language over the 'sensible' becomes even more apparent. (so called) experimental film tends to deal more with the audio-visual and as such is primarily concerned with seeing and hearing. There have been surprisingly few texts on the subject until comparatively recently, Dziga Vertov, Rudolph Arnheim, Michel Chion and Rick Altman spring to mind. In my chapter "Thunder and Lightening" in "Reverberations" I expanded this separation of sound (noise) and image and included Vertov's _Enthusiasm_, Eisenstein & Alexandrov's _Romance Sentimentale_ and Ruttman's (film for radio) _Weekend _as examples 
>> _ _ 
>> I would also sugest works by_ _Wojciech Bruszewski, Jeff Keen, Jo Millett, Jenny Okun, Guy Sherwin, and myself 
>> 
>> Best Wishes 
>> 
>> Rob 
>> 
>>> On 13 Nov 2021, at 22:24, Andrew Skalak <andrew.skalak at gmail.com> wrote: 
>>> 
>>> Hello everyone, 
>>> 
>>> I am interested in finding films that are particularly interested in and make exceptional use of sound. I would say films that are sound-centric even: where sound is the primary device of the film above the image. In the narrative world I think the filmmaker that has best explored this is Lucrecia Martel. 
>>> 
>>> A great and classic text on what I am trying to explore is Randy Thom's 1999 essay on designing films for sound, as opposed to designing sound for film: https://www.filmsound.org/articles/designing_for_sound.htm [1]. 
>>> 
>>> I am interested in films with very rich and layered field recording; heavy, extreme, or absurd foley; innovative microphone techniques such as contact microphones, hydrophones, binaural audio, spatial audio recording; unique sound post processing, etc. If there are any films that are not necessarily sound-centric, but someone feels really struck then sonically I'm very interested in that as well. 
>>> 
>>> I am also interested in films that make use of surround sound and the surround space in ways not possible in narrative films, though I may not be able to experience them online or without seeing them in a theater. 
>>> 
>>> This is a narrative film, but in this realm is "Out of Tune" by Aaron With: 
>>> https://vimeo.com/488308481 [2] 
>>> 
>>> I'm definitely most interested in films I can watch or rent online, but any films that only exist on prints or are hard to see I am more than happy to add to a list to hopefully watch some day. 
>>> 
>>> Thanks you all, 
>>> Andrew -- 
>>> 
>>> (563) 210-3321 
>>> Cinematographer, Filmmaker - Chicago, IL 
>>> Cinematography Reel [3]
>>> 
>>> www.andrewskalak.com [4] 
>>> -- 
>>> Frameworks mailing list
>>> Frameworks at film-gallery.org
>>> https://mail.film-gallery.org/mailman/listinfo/frameworks_film-gallery.org
>  

> Links:
> ------
> [1] https://www.filmsound.org/articles/designing_for_sound.htm
> [2] https://vimeo.com/488308481
> [3] https://vimeo.com/282369276/4ccebdbc30
> [4] http://www.andrewskalak.com/



-- 
Best regards,
 Jim                            mailto:jim at newgrangemedia.com