Announcements about our network of schools, festivals, artists and practitioners, and other things we want to tell you.
No Ordinary Protest, by Mikhail Karikis, is the latest online release from the Film and Video Umbrella.
Made in 2018, Karikis’ video was perfectly in tune with a moment when children, led by teenage activist Greta Thunberg, rose up in anger at the imminent prospect of future climate emergency.
Combining sound, experiments, performance and unscripted debates, the resulting collaborative scenes oscillate between the real and imagined, evoking the irresistible power of collective action. Watch
We’d like you to know about the PRIVATE KITCHEN, an initiative by our friends in the Netherlands.
PRIVATE KITCHEN is an online platform by and about Dutch media composers.
It provides a mix of videos and feeds about how composers work and how they develop(ed) a career within their media disciplines. They share their experiences, insights and tips and tricks about developing an idea into a final composition, the production, and music release for media.
The Audiovisual Chord: Embodied Listening in Film, by Martine Huvenne, has been published by Palgrave Macmillan.
“This book is a phenomenological approach to film sound and film as a whole, bringing all sensory impressions together within the body as a sense of movement. This includes embodied listening, felt sound and the audiovisual chord as a dynamic knot of visual and auditory movements. From this perspective, auditory spaces in film can be used as a pivot between an inner and an external world.”
For information, see The Audiovisual Chord
People learn in different ways. That’s the principle behind this project. With single lectures, short courses, articles on practice and theory, seminars and the Teaching forum, we want to take the study of sound away from the limitations of higher education and vocational training. Rather than focusing on ‘the industry’ or separating theory from practice, our aim is to integrate the diverse ideas that inform this fascinating subject. That has been our intent from the beginning of the School of Sound.
After the first SOS in 1998, Chris Darke wrote in The Independent, “If the School of Sound was conceived as an intervention, taking on the sclerotic notions of technocratic professionals that dominate British film schools, then it was seen by the industry and film schools alike as an unqualified success.” And so we hope to continue.