In my previous blog I outlined what I would be looking at for Moving Narrative 2, the Voice of Cinema was not only something for Moving Narrative 2, but something I would be taking in my third and final year. In this blog I wrote:
It seemed to me that although my audio interest was turned upside down, it was something that I had never learnt about, let alone knew about. Rummaging through I soon realized that this book would take a good few readings through to even begin grasping the context of Chion’s ideas. It would have been simple if I decided on a topic that we had already touched upon in recent months but this was totally new.
This became a bigger problem when first realized. The idea of starting a totally new are of work was daunting to begin with, I feel this is where the problem started. I just couldn’t bring myself to do it, the project (along with others) seemed to colossal. It’s for this reason that I had to rethink my strategy, make my work load work for me. Stepping back I started to look at what I needed to do. First I had to shoot and edit my film Hearing is Believing this in its self would take up a lot of time, as I am having trouble with casting at this moment, most of my time/stress has been going into this. As well as Hearing is Believing I am working on Andrew Simpson’s film A Journey to Paradise. This film has already been shot, in which I recorded the sound. Now the film is in post and I am carrying sound cleanup, sound design, mixing and in the future composing. In its self both projects leave me very little time for anything else.
Meeting with Dan I expressed these concerns and explained what I wanted to do instead, I explained that I wanted to solely focus on sound design for the module Moving Narrative 2. More to the point I wanted to incorporate my work on A Journey to Paradise. It made all the sense in the world to me, I have already extensively thought about the work on Andrews film, and I have already plenty to talk about as I recorded sound on location.
In knowing this I feel I am finally happy with my work load (to an extent).
The voice in cinema however will still play an aspect in my work, A Journey to Paradise connects to the voice in cinema massively so I have already made a leap (theory wise) in my work.
I can focus on two lines of enquiry that are very similar in themselves (both looking at sound). Before I dive in with both the practical side and my blog work however I feel the need to outline some of the areas I will be looking at, when writing about each one I will be connecting it with a film I have both watched in my own time, or in the art centre on a Tuesday afternoon.
- Recording location on set.
- Fixing vocals.
- Sound design to create space.
- Altering Voice.
- Sound design driving story.
I hope to make up this module on a 50/50 basis, one half talking about the practical side, such as, using equipment, working on adobe. The other will be more theory led, I hope to use the works of Michel Chion including Film, a sound art (Chion, 2009) & Audio-Vision: sound on-screen (Chion, Gorbman and Murch, 1994). In doing this I will have made forward movement in becoming a better sound designer as well as understanding sound and it’s power more clearly.
Chion, M., Gorbman, C. and Murch, W. (1994). Audio-vision. 1st ed. New York: Columbia University Press.
Chion, M. (2009). Film, a sound art. 1st ed. New York: Columbia University Press.