Sobre la estética de Tarkovski. La casa donde llueve

Chion, M. (1995). Sobre la estética de Tarkovski. La casa donde llueve. Banda aparte. (2):22-27. http://hdl.handle.net/10251/42141.Importación Masiva2227

Aspectos de lo sensorial en el cine actual

El siguiente texto, fue presentado en un coloquio en 2010 y permanecía hasta ahora inédito en español.En él, Michel Chion desarrolla ciertos aspectos que hacen del cine una experiencia sensorial. El autor sostiene que aunque técnicamente este medio esté compuesto por sonidos e imágenes, lo que en realidad transmite son sensaciones creadas por las combinaciones de sonidos e imágenes. Esta posibilidad se ve incrementada por la incorporación de las tecnologías digitales.Agradecemos a Michel Chion la generosidad de este aporte

Imagen, recuperación y textura

The following text was generously sent to us by Professor Michel Chion as an appendix of the former. Equally unpublished in Spanish, it serves as a reference to the above. In this case, the article develops key elements to understand this author´s proposal, centering on the notion of “texture”.El siguiente texto, nos fue generosamente cedido por el profesor Michel Chion como anexo del anterior, ya que en el mismo se hace referencia a éste. Igualmente inédito en español sirve de referencia al texto anterior, a la vez que desarrolla elementos claves para comprender la propuesta de este importante teórico, en este caso en torno a la noción de textura

Sonic diegesis: reality and the expressive potential of sound in narrative film

Perspectives and approaches from electroacoustic music are applied to support a phenomenological understanding of the role of sound in film, whereby all sounds are presented as potential drivers of cinematic diegesis. Building upon notions of the non-diegetic fallacy (Winters 2010, Kassabian 2008) and extending these concepts from film music into an examination of all sound, conventional classifications of sound into binary (diegetic / non-diegetic) and tripartite (Voice / Music / Sound Effects) divisions are challenged. Such divisions are argued as limiting to an understanding of the full expressive potentials of sound, failing to reflect the filmic experience, by assigning limited functional roles to specific types of sound. Notions of “reality” are core to this exposition, with existing analytical distinctions operating in relation to an assumed objective reality, a transparent mimesis, which fails to take into consideration the subjectivity of the audience nor the diegetic potential of mimetic sounds. However, with reference to specific examples drawn from mainstream cinema – Gravity [2013], Dunkirk [2017] – and creative practice research ¬– coccolith [2016] – the expressive potential of sound is demonstrated to be embodied by all sound types, with the apparent realism of mimetic sounds belying their significant diegetic power. Indeed, the illusory realism of mimetic sounds is argued as core to their communicative action and affect, extending audiences’ own experiences of sonic phenomena. Approaches to the analysis of sound within narrative film contexts are demonstrated and posited as affording deeper and more nuanced readings of the role of all sound in the construction of filmic diegesis

Stories of a ruined space: filmic and sonic approaches to practice-as-research

This article reflects on the authors’ work in investigating how audiovisual practices might represent the experience of disused or ruined structures. With backgrounds in visual and sound practice respectively, the authors have, in their most recent experimental film project Coccolith [UK: Coccolith Productions], conceived the Ramsgate wartime tunnels in Kent as a point of collision for divergent artistic approaches to the representation of space. Challenging the site’s association with wartime mythology, the project sought to reconfigure the relationship between film and sound practice in order to articulate an alternative representation of the tunnels’ history, heritage and temporality. The article reflects on the role of the sound designer in developing soundscapes that embodied the ruined space, and on the role of the director in visually conceiving a spatial experience of the tunnels characterized by the absence of sound – silence. We argue that in conceiving an audiovisual project in terms of texture and gesture, it is possible to reconceptualize both the role of the soundtrack in relation to a film’s diegesis, and the role of the director in relation to sound design

I will leave you now and this loudspeaker will take my place

Notions of ‘presence’ and ‘liveness’ run through academic theories and popular conceptions of sound mediation generally, and mediation of voice in particular. This article looks at experimental video that engages with these questions, particularly around the notion of the ‘authentic’ voice and vocal ‘presence’. We will demonstrate how these different experimental approaches explore the interaction between voice, vocal technique and audio-visual technology, thus challenging and interrogating conventions of how the soundtrack represents the voice and (in conjunction with the moving image) the audio-visually mediated body. Presenting Anneke Kampman's work as an experimental practice-led research response to seminal theories of sound and the film soundtrack, we provide further context through engagement with key examples of earlier video art and sound art by Vladan Radovanović, Richard Serra, and Meredith Monk. Overall, the article intervenes by demonstrating how video art and sound art can address key theoretical questions concerning voice and body in a broader sound and moving image context, as well as adopting a sound-focussed approach to aesthetic analysis of video art