Where is the sound of a screenplay born, and when and how does it gestate? In what space or at what moment does it emerge? In architectural, illustrated or filmed space? Or maybe in none of those three places. The filming of sound implies making a series of ethical and aesthetic decisions that end up making a mark not only on an author’s style, but also on the spirit of the filmmaker’s work. Since sound ceased to be a slave to the image, audio has taken on a structural dimension that can signify time and image in a special, unique way. This had been foreseen by Russian directors with their Statement of Sound and also when Gilles Deleuze suggested that audio images could have revolutionized the way we conceive and make modern cinema. An awareness of how an audible idea affects the sense of cinematographic image, at the service of who or what triggers the sound or the invisible value of sound in the era of image, is one of the practical objectives of this workshop that is so open to the exploration, discussion and shared hearing of different materials.
- Introduction to active listening: Hearing to think, thinking to write and writing to film.
- Imagined reality. Ghost sound. Three-dimensional perception of the audiovisual image.
- Auditory imagery.
- Silence according to different authors.
Eva Valiño | Sound Mixer
Duration: 12 hours
Dates: Friday 3 & Saturday 4, May
Timetable: 10.00am-01.00pm | 04.00pm-07.00pm
Venue: Fundació SGAE | Paseo Colón, 6 (Barcelona)
Precio: 30 €