I wonder if Jonathan Schwartz's travel films would fit that description. Also, if I'm understanding correctly, that occurs in Bill Brown's latest film Speculation Nation.
Sincerely, Mia Ferm Sent from my iPhone On Aug 31, 2016, at 14:09, Andy Ditzler <a...@andyditzler.com> wrote: Hi all, I'm looking for suggestions of films that prominently utilize "wild sound" in their soundtracks. (I'm defining wild sound as sound that is recorded at the same time and location as the imagery, but is not synchronized to the imagery in the final film.) This would be other than the widespread use, in documentary filmmaking, of ambient sound as a background to synchronized sound and image. I'm thinking instead of films that highlight the non-synchronous (or semi-synchronous) nature of the sound. Examples include Peter Moore's "Stockhausen's Originale: Doubletakes," in which we see images of a concert performance, and hear sounds of that performance, but not in sync. The same principle applies to the 1950s ethnographic films of John Marshall (for example, A Joking Relationship) and Jean Rouch (Les Maitres Fous and others). Thanks for any suggestions! Best, Andy Ditzler Founder and curator, Film Love: www.filmlove.org Co-founder, John Q collective: www.johnq.org John Q in the New York Times Lens blog: http://nyti.ms/2aDWklE forthcoming: Journal of American Studies, co-editor, special issue, 2017 (with Joey Orr) _______________________________________________ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
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