Proposal: Task 1 Audio-Only

Today my partner and I pitched our idea for our Task 1 Audio-Only project to Debbie Ballin in an informal environment. Although the idea we chose was a far cry from my original vision, I had agreed to proceed in support of my partner so that we were both "on-board" with the project, as she was completely unenthused by my own idea. Below is a copy of the information we presented to Debbie.

                                                
Sense of Place: Hell

Purpose

We chose to use 'Hell' as the place we would represent because we were interested in creating sounds that were not necessarily 'normal'. We wanted to experiment as much as possible whilst still sticking to the brief and are excited by the challenge of representing a place that audiences may not be familiar with.

Method

For this brief we were inspired more by feelings and themes than by other works. For example, we are interested in channelling feelings of pain, suffering, entrapment and also a sense of eternity. Although we plan on distorting the sounds we record to give them a more paranormal feel, we want to base our final sounds on real recordings of nature to add a sense of reality and 'belonging' to the piece and allowing the audience to identify with certain sounds.

Inspirations

We primarily drew inspiration from typically Hellish representations of otherworldly planes from films we both enjoyed, such as Silent Hill and Insidious. However, we are more focussed on creating a surrealist environment than the more physical depictions in films. Sonically, we are inspired by metallic sounds such as knives and chains, fiery sounds and distorted voices. 

Examples of sounds we may record

• Fire
• Knives
• Chains
• Screaming
• Shouting
• Water
• Footsteps
• Banging
• Wind
• Thunder
• Doors
• Scratching
• Scraping

                                                

Debbie shared my view that my original concept was perhaps more unique than the somewhat cliche route we had taken, but seemed confident that we could put our own twist on it. She offered some criticism by saying that we were thinking too literally about the piece as a narrative and that we should be considering more abstract approaches to conveying meaning and sense of place. This was very helpful as I had been feeling the same way and it was a relief to hear it from a professional. She also gave us some suggestions of experimental filmmakers whose work she thought may inspire us when creating our own film, as well as discussing with us the idea of representing the seven deadly sins or Dante's nine circles. Debbie's critique was incredibly useful and I feel she has put us on the right path to creating a piece that avoids the cliche associated with our theme. 

The filmmakers Debbie suggested we research are:

Jan Svankmajer 

Sally Potter 

Derek Jarman 

Stan Brakhaje 

Peter Greenaway

Analysis: "Tango"

Tango is a short-form experimental animation by Polish artist Zbigniew Rybcynzski, made in 1980. It features the repetition of actions by individual characters, with more and more characters being introduced as the film develops. They weave in and out of each other as though dancing, which is where the title of the piece originates: tango, the 'dance of life'.

Still showing the organised chaos of Tango

The piece is very powerful. I felt very inspired by it and have watched it several times. What I find most inspiring is the bravery and integrity of the piece, which although tedious for most audiences stays true to Rybcynzski's vision. What differentiates this piece from other 'disciplined' structuralist films I have researched is the way in which it grows and evolves the longer it is watched; I find this very inspiring, as it keeps audiences interest and is relevant to my own project, where I wish to represent a descent through the nine circles of Hell. I am also inspired by the relation between sound and image in the piece. The characters move to the rhythm of the tango which plays throughout, and I feel this is a very effective structuralist technique which I am interested in using in my own work. 

I feel that this film will prove to be one of the key inspirations I draw from when making my own project, particularly with regards to creating a film that 'grows', works alongside sound and incorporates elements of structuralism. However, I feel that the imagery in this film is perhaps a little too literal for my own piece, especially considering that I have quite a detailed and literal soundpiece. It might be more effective for my film to also contain abstract elements, so I will explore more abstract film for inspiration. 

Analysis: "Meat Factory Earworms"

Meat Factory Earworms is an experimental sound piece created by Richie Bierne in 2008. It is narrative in that it recounts Bierne's experiences working in a meat factory, however it is still considered to be experimental due to the techniques it employs.

For example, the soundscape of the meat factory is captured and samples of this are layered throughout the voiceover, which forms the foundation of the piece with the meat factory ambience adding to the overall effect. The voiceover itself is also cut and repeated at times to place emphasis on certain things the speaker is saying. I feel this is very effective as it surprises the audience by subverting their expectations, and thus successfully emphasises the words he is saying.

I was inspired by this piece for my own work for my Task 1 Audio-Only brief, as I feel it very successfully captures a 'sense of place' in a strange, unusual and ultimately experimental way. I am also inspired on a sonic level by the piece, particularly by the graphic sounds of blades being sharpened and flesh and bone being cut through, as I feel these sounds are relevant to my theme of Hell.

Analysis: "Steel Homes"

Steel Homes is an experimental short documentary, directed by Eva Weber and released in 2008. Just short of ten minutes in length, the film is set in a storage block and explores the relationships humans have with their possessions. It is claimed early on that there are "all these stories are behind the doors", and I feel this line accurately represents the content of the film, which takes a subtle yet informative peek into the lives of those who cannot let go of their possessions; their "souls".

A still from Weber's Steel Homes showing a woman in the facility

The cinematography of the film can be said to reflect its theme. The film feels almost intrusive in nature; shots are taken seemingly from around corners or from down a long corridor, seemingly quite a distance from their subject - often from a low angle. This creates a feeling of stealth; as though the audience themselves are creeping through the storage unit and watching its clientele go about their intriguing business. The shots of the facility itself often reflect its monotony, with large focus on the endless silver corridors and their uncomfortable symmetry and similarity. This possibly has the effect of making the storage unit seem all the more strange and alien to audience unfamiliar with such facilities. This is supported by the focus on the operation of technical equipment such as elevators and stairwells, which may seem daunting and confusing.

The film is quite effective at presenting the audience with the opportunity to sympathise with the people in the film. Conventionally, this could be achieved through interview situations which make the relationship between the audience and the subjects seem more personal. However, Steel Homes steers clear of this technique. Instead, only the voices of the film's subjects are heard, recounting their stories as we see them examining their possessions onscreen; a "seated interview" is never shown. This helps to make the subjects seem more strange, as it breaks the personalisation between them and the audience. As they tell their stories, it seems like segments of information have been withdrawn by the filmmakers, and this too enhances the mystique of the storage users and potentially increases the audience's curiosity. As more is revealed about their tales of grievance, homelessness and nostalgia, it can be assumed that the audience take a less judgemental approach to the clientele of the storage unit; whilst they may have initially thought them to be strange or abnormal, the intent of the film is arguably to challenge that impression and evoke empathy. 

In conclusion, I feel that the film is very interesting to watch, as it taps into the audience's instinctive curiosity. Whilst it ran the risk of feeling as though the clientele of the storage unit were been taken advantage, I feel that the film handles the subject matter tastefully; creating a visually beautiful film that has a potentially positive effect on the preconceptions of the audience.