Category: Second Year

when building the pedal I found it very hard to know what parts go what way round on the PCB, it was also very hard to know what resistors I should use as the colours didn’t match any that were on the picture that had came with the kit, I also didn’t have a meter so I couldn’t measure it myself. I also soldered in the potentiometers the wrong way as I didn’t double check what way they were supposed to go. The output and input pots also didn’t arrive with the kit so I had to contact the company and get him to send me them.

doing more work on the score I found it hard to keep the sounds eclectic and varied without making it sound too random and not put together. I thought about maybe keeping the score down to a few instruments and not going overboard with too many different sounds. I referred to the original score and looked at how Yosuke Inagaki did the sound behind that.

moods I will try to capture within my audio that are shown within the film – loneliness, tiredness, insomnia.

Takashi Ito Research – he drew manga before he was a director, this could show why he is so obsessed with using slow motion within his film work

“rule 18 – start simple and confirm that the circuit still works after every addition you make”

the chip started to heat up so I disconnected the battery and diagnosed the problem, which was a wiring problem to the battery. I also changed the cathode as it was faulty.

Ghost was released 1984, “I made this work because I wanted to try out the idea of floating images in midair that had come to me when making Thunder. The entire work was shot frame-by-frame with long exposures. I filmed this in the company dorm I was living in in the middle of the night after I had come home from work, and thought I might die from what had become my daily pattern of sleeping for two hours in the morning then going off to work.” – Takashi Ito

Sound was done by Yosuke Inagak. The sound in Ghost is beautiful, it is very grainy and filled with ambience. It consists of a lot of beautiful sweeping droning pads that almost sound like they’re clipping. It also contains natural sounding sounds such as the sound of rats squeaking which can’t be seen on screen.

The film experiments with ” the most basic dimensions of cinematic illusion, such as space depth, lightning and movement, to create a visual feast that seems to touch on the horror genre”.

https://letterboxd.com/film/ghost-1984/

http://thesoundofeye.blogspot.com/2010/07/takashi-ito-ghost-1984.html

“The single frame, varied and repeated, combined to grant the inner eye the illusion of motion. This photographic essence, this basic cinematic unit, is Ito Takashi’s obsession, and the beginning of our voyage through his oeuvre: The single iterative frame as the artistic element of space-time, and the source of the cinematic alchemist’s mastery over his art. It is an art on the frontier between stop-motion and motion, between the stillness of the photograph and the action of the motion-picture.” https://mubi.com/notebook/posts/ghosts-of-time-and-light-the-experimental-cinema-of-ito-takashi

Stalker – 

part one – starts with ambient droning pads, based upon roadside picnic, sound by V Sharun, conductor E.Khachaturyan. middle eastern style sitar and flute first scene doesn’t include music which creates lots of silence compared to the previous introduction scene,  doesn’t really have a musical score, mainly just on screen sounds, the film has created very genuinely a artificial place and appears very authentic, repetitive noise of the train going down the tracks, has off screen  sounds that i couldn’t make out what they represented 

off screen wolf scream, mostly dialogue in beginning, off screen squelching foley in mud, already having watched a quarter of the film I am not blown away by the sound it’s very minimal and silent at times , it makes the film feel very natural, first signs of music, psychedelic jangly song. 

part two – birds chirping, natural water sound even though neither can be seen on screen, piano keys, metallic footsteps 

the zone – let’s good pass and bad di

reading –

Gaze –

The Nine Muses –

Blackboards –

John Akomfrah – he is invested in the sonic, explained an experience he had listening to BBC 3 which changed the way he viewed the sonic and time. The Nine Muses, used BBC television clips looking at the west midlands, working with BBC archive material, he’s interested in exploring the archive and looking at the relationship between asian and black migration to the west midlands, he strips the soundtrack k of the archive material and re-contextualises the work, recorded over the white BBC perspective and re-recorded and changed the narrative of the footage.

Acousmetre – a kind of voice-character specific to cinema that derives mysterious powers from being heard and not seen. The disembodied voice seems to come from everywhere and therefore to have no clearly defined limits to its power.

Cinema Verite – Jean Rouch, Cassavettes

Syncheresis – The forging between something one sees and something one hears.

Laura Mulvey – Female, Male Gaze spectator and spectacle, object and objectified, voice and voiceless, representation and otherness.

We need to talk about Kevin beginning of film – sound of bow being pulled back and arrow shooting, visuals of La Tomatina represent the events that take happen within the film, there are screams under the sounds of La Tomatina, scene outside the house represents the end.