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THE SCHOOL OF SOUND 2003
A unique symposium exploring the art of sound with the moving image
The fiffth School of Sound symposium will be held in London from Wednesday to
Saturday, the 23rd to 26th of April 2003 at the South Bank Centre's Purcell
Room.
Since it?s beginning in 1998, the School of Sound has raised the profile of
sound production in film, television and multimedia. To all those working in
professional media and the arts, this unique forum has offered an exceptional
series of presentations on the use of sound with the moving image. Sonic
environments, non-naturalistic sound, sound as metaphor, human sound
perception, sound for multimedia - the topics have ranged from the practical
to the aesthetic to the metaphysical during these intense four-day symposia.
The focus of the School of Sound is listen ing ? listening to the reflections
and experiences of some of the world?s leading practitioners, artists and
educators. Each year, people from all aspects of the arts, media and
audio-visual industries have gathered from more than 20 countries to hear
directors, sound designers, composers, editors, artists and theorists define
and interpret their personal use of sound from both traditional approaches
and radical new perspectives.
The 2003 School of Sound will reveal the special role sound plays in fiction,
animation, documentary and sonic art. If you are a filmmaker, video artist,
writer, sound designer, editor, composer, radio producer, painter ? anyone
working with sound and image ? you will find the juxtaposition of ideas
captivating and inspiring.
For information or to join our mailing list (please send your postal address
to receive a printed leaflet): email [EMAIL PROTECTED] or visit our
website, w ww.schoolofsound.co.uk.
Proposed speakers:
SUSANNE ABBUEHL
IMPROVISATION ? THE JOY OF CREATING WITHIN RESTRICTIONS
Singer and composer who has performed throughout Europe and released her
first recording, April, in 2001 for ECM Records, produced by Manfred Eicher.
Abbuehl discusses the relationship between music and words and how
restrictions within improvisation can heighten the sensibility to sensory
input.
DEDE ALLEN
Best known for editing some of the most significant American films of the
?60s and ?70s including The Hustler, Bonnie and Clyde, Slaughterhouse-Five
and Serpico, Allen examines how a picture editor must be aware of sound and
their influence in creating a film?s soundtrack.
GUSTAVO COSTANTINI
Argentinian musician and sound designer, Costantini has created sound for
feature films, documentaries and theatre. His talk explores how music and
sound reveal picture editing strategies in The Godfather, Bram Stoker?s
Dracula and The Exorcist with references to The Simpsons, Borges, the Beatles
and Hitchcock along the way.
DOGME SOUND TEAM
The Dogme 95 Vow of Chastity stated: ?The sound must never be produced apart
from the image and vice versa. (Music must not be used unless it occurs when
the scene is being shot).? But what actually goes into Dogme soundtracks?
Sound engineers Morten Holm (Festen), S�ren Bjerregaard-Ryan (Dancer in the
Dark) and Per Streit (The Idiots and Wilbur Wants to Kill Himself) explain
ways of stretching the Dogme rules.
NIGEL HELYER
Helyer (a.k.a. Dr Sonique) is a Sydney-based Sculptor and Sound Artist with
an international reputation for his large scale sonic installations,
environmental sculpture works and new media projects. In VIRTUAL VOICES:
GHOST RIDERS IN THE SKY, he explores the relationship between sounds and
images in both science and cinema - with a particul ar focus on the
relationship between the emerging science of electricity with that of the
human body and concepts of spirituality (e.g. 'vitalism').
ISAAC JULIEN
Isaac Julien is a filmmaker and artist and Visiting Lecturer at Harvard. From
his first feature film, Young Soul Rebels (1991) through to his installation
pieces Long Road to Mazattan and Vagabondia, for which he was shortlisted for
the Turner Prize in 2001, Julien examines the place of sound in independent
filmmaking as it moves from the cinema to the gallery space.
REN KLYCE
Having worked with director David Fincher since he was 19, Klyce?s work is
the epitome of modern sound design. His credits include Panic Room, Fight Club
and Se7en ? all with Fincher ? and Spike Jonze?s Being John Malkovich.
JERZY KUCIA
The famed Polish animator discusses his creation of abstract sound and music
for his inimitable imagery, specifically in his latest production, T uning
Instruments, which has won awards at both the Stuttgart International
Animated Film Festival and the British Animation Awards.
RICHARD LEACOCK and VALERIE LALONDE
In more than 60 years working in documentaries, Leacock has always believed
in the principle of synchronous sound (?If I were to film a long shot of Mt.
Everest, I would do it with synch sound.?). Valerie Lalonde and Leacock will
show films made with various formats and examples of synchronous sound
recorded ?as we think it should be?.
SKIP LIEVSAY
Lievsay has created the soundtracks for many of the most successful and
influential American films of the last two decades. His credits are
testimony to the role of close collaboration with directors and composers in
the crafting of effective soundtracks integrated with the images rather than
mere post-production exercises: Fargo, Barton Fink and all the Coen Brothers
films (working with composer Car ter Burwell); Goodfellas, Casino and The Age
of Innocence for Martin Scorsese; Mo? Better Blues, Do the Right Thing and
Jungle Fever for Spike Lee; Men In Black (Barry Sonnenfeld), Y Tu Mam� Tambi�n
(Alfonso Cuar�n), Pr�t-�-Porter (Robert Altman) and Matewan (John Sayles)
FRANCOIS MUSY
Musy is best known for his work with Jean-Luc Godard. Starting with Passion
in 1983, he has produced most of Godard?s soundtracks including Hail Mary, In
Praise of Love and the masterful Nouvelle Vague, which has been released on
CD by ECM. His technique interweaves Godard?s intellectualism, location
sound, eclectic combinations of music and an elegant sense of mood and space.
PIERS PLOWRIGHT
SILENCE IS.......? PIERS PLOWRIGHT LOOKS INTO SPACE
Radio Producer and cin�aste, Plowright has the distinction of having
delivered the opening lecture at the four previous SoS symposia. This year he
surveys the use of silence in creating soundtrac ks.
SALLY POTTER
Potter?s work as an artist has embraced dance, performance, theatre, music
and film. Her presentation focuses on the convergence of choreography, music
and image as demonstrated in her film work since the late seventies: Thriller
; The Gold Diggers, starring Julie Christie; the Academy Award nominee Orlando
with Tilda Swinton; and The Tango Lesson.
MARK RANCE
THE SOUND of DIALOGUE
Dialogue and the actor?s voice are two elements usually ignored in
discussions about sound design. With references to Chandler, Leonard,
Kubrick, Frears and Tarantino, Rance, a documentary filmmaker and one of the
first producers of ?special edition? DVDs, will look at the decade-by-decade
changes in the approach to dialogue in film-noir from the 30?s to the 90?s.
LAURA WRIGHT
As a sociolinguist at Cambridge, Wright is concerned with how social
attributes such as class, age and gender are encoded in the voice. Her talk
is an historical and global look at certain features of English as used in
audio-visual media, including material which is no longer understood by
directors and hence usually changed, and material which all speakers produce
but editors usually cut out.
Soundscape: The School of Sound Lectures 1998-2001
In March 2003, Wallflower Press will publish a book of lectures from the
first four years of the School of Sound. Soundscape will be available at a
discounted rate to all those attending the 2003 School of Sound. For more
information visit the SoS website or the Wallflower Press at
www.wallflowerpress.co.uk.
The School of Sound is sponsored by
ERA
The European Union
Equal
Motion Picture Association
Channel 4 Television
London Film and Video Development Agency
National Film and Television School
Film Sound Design Website, www.filmsound.org
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