Join Complicite in a live stream of Simon McBurney’s, The Encounter, from London’s Barbican Theatre with a ground-breaking binaural sound design. The show, described as ‘sensational (Variety) and ‘a tour de force that shows contemporary theatre at its most immersive and thought provoking’ (Financial Times) is playing a sold out run at London’s Barbican Theatre but on Tuesday, 1 March at 7.30pm, the show will be live streamed to the internet and you can watch it at https://www.youtube.com/watch?v=ghc-DM1TVWU. [more]
As part of their new Screen School, Goldsmiths, University of London, will offer Sound Recording & Design as part of the MA Filmmaking programme. Starting in September 2016, the one-year course will be taught by Larry Sider of the School of Sound. [more]
It is readily acknowledged that sound design is an aspect of fiction filmmaking that any director or editor needs to understand. For the documentary filmmaker, however, sound is still often considered a technical necessity left to post-production. The ways sound can transform a documentary’s narrative – and how it ‘speaks’ to its audience – are too often ignored.
The course will provide you with an understanding of how soundtracks operate in documentaries, by exploring a variety of strategies for working with sound in the continually evolving forms of non-fiction screen production.
Thursdays from 14 April 2016 in Central London, taught by Larry Sider. [more]
The New Soundtrack brings together leading edge academic and professional perspectives on the complex relationship between sound and moving images.
Issue 6.1 will be published in March 2016. It features articles by Dong Liang, Nessa Johnston and Anneke Kampman, David Hendy, Neil Hillman and Sandra Pauletto, Klas Dykhoff, and Damian Candusso.
We are now accepting abstracts for issue 6.2 to be published in September 2016.
For more information about subscribing and submitting articles, see The New Soundtrack page on this website.