AUDIO THINKING IN CINEMATIC STORYTELLING

AUDIO THINKING IN CINEMATIC STORYTELLING

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.

PROGRAMME

  1. Introduction to active listening: Hearing to think, thinking to write and writing to film.
  2. Imagined reality. Ghost sound. Three-dimensional perception of the audiovisual image.
  3. Auditory imagery.
  4. 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 €

COMPLETELY BOOKED

 

 

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 €

COMPLETELY BOOKED

Eva Valiño

Eva Valiño

Eva Valiño was born in Barcelona in 1969. After working as an advertising creative where she begins to discover the sound in the audiovisual language, she studies music and specializes in Sound by the International Film and TV School of San Antonio de los Baños. After graduating as a sound mixer, she began a long career dedicated to recording direct sound in cinema with directors such as Jaime Rosales, Manuel Martín Cuenca, Icíar Bollaín, Isaki Lacuesta, Víctor Kossakovsky, Marc Recha, Mariano Barroso, Carla Simón, Roger Gual and Julio Wallovits among others. In 2002 she won the Goya Award for Best Sound for Te doy mis ojos, by Icíar Bollaín and is nominated in 2014 for Caníbal by Manolo Martín Cuenca and in 2018 by Yuli by Icíar Bollaín, among other awards and recognitions.