CINEMA OF NOISE PART 10: #91 - 100

Listening to films.


CINEMA OF NOISE #100 - June 17th 2016
+ Enthusiasm: Symphony of the Donbass [1931] directed by Dziga Vertov
- train • metal • whistle • voice • train engine • track • screeching • steam engine • machines • factory • singing women • farming machinery

"The first sound of a tolling church bell. The reverberation dies out, giving way to the ticking of a clock. The second stroke of a church bell. The reverberation dies out, giving way once more to the ticking of a clock. The third stroke of a church bell, gradually expanding into a feast-day carillon. Fragments of the church service (the better known motifs) are commingled with the sound of the bells. The chimes, mingled with the motifs from the service, cannot maintain solemnity for long. A note of irony appears. The solemnity is continually undercut. The religious motifs seem to dance about." [Sound-March - Symphony of the Donbass, Kino-Eye: 290].

"The great plan changes the conditions under which people work, changes the pace of life itself, and changes people themselves. If quiet, serene development, if development under conditions of economic and social stagnation creates within the human the inertia of stagnation, then under conditions of gigantic and furious construction, under conditions of extreme technical and economic speed, the human is refashioned, is regenerated, and acquires the inertia of rapid forward movement." [RGALI f. 2091, op. 2, d. 415, l. 65 (1929)]

Quotes from the KinoKultura article by John Mackay - Disorganized Noise: Enthusiasm and the Ear of the Collective

More information about the film here

Train montage and countryside -  Enthusiasm: Symphony of the Donbass  [1931]

Train montage and countryside - Enthusiasm: Symphony of the Donbass [1931]

Sound Department

Unknown ::::: please contact if you know this information: robszeliga[a] :::::

CINEMA OF NOISE #99 - June 14th 2016
+ Berberian Sound Studio [2012] directed by Peter Strickland
- doorbell • dubbed italian voice • door • metal • rumble • optical soundtrack noise • fx • bang • glass • birds • voice

CINEMA OF NOISE #98 - June 11th 2016
+ Assassination [1964] directed by Masahiro Shinoda
- voices • screaming • prepared piano • shakuhachi • sword hits • metal • footsteps • gore

"One day in 1948 while riding a crowded subway I came up with the idea of mixing random noise with composed music. More precisely, it was then that I became aware that composing is giving meaning to that stream of sounds that penetrates the world we live in." [Toru Takemitsu, Confronting Silence, p 79]

Sound Department [IMDB]

Toru Takemitsu ... composer

CINEMA OF NOISE #97 - June 8th 2016
+ Last Hurrah for Chivalry [1979] directed by John Woo
- wind • sword swooshes • whooshes • metal • shouts • yelps• movement • body falls • wood • hits • glass • footsteps

Sound Department [IMDB]

Kwok-Man Chan ... sound effects editor
Chiao Chiao ... dialogue editor
Shao Lung Chou ... sound recordist
Shing-Sum Kwok ... dialogue editor

CINEMA OF NOISE #96 - June 4th 2016
+ Daisies [1966] directed by Vera Chytilová
- whispering • voices • movement • ticking clock • chandelier falling • crash • glass • machine gun fire • explosions

~ to those who get upset only over a stomped-upon bed of lettuce ~

Sound Department [IMDB]

Ladislav Hausdorf ... sound

CINEMA OF NOISE #95 - June 1st 2016
+ Seven Samurai [1954] directed by Akira Kurosawa
- rain • voice • horses • hoofs • battle cries • neighing • swords • stab • gore • mud • footsteps • movement • puddles

“For me, filmmaking combines everything. That’s the reason I’ve made cinema my life’s work. In films, painting and literature, theatre and music come together. But a film is still a film.” [Akira Kurosawa]

Sound Department [IMDB]

Ichirô Minawa ... sound effects editor
Masanao Uehara ... sound assistant
Fumio Yanoguchi ... recording

CINEMA OF NOISE #94 - May 30th 2016
+ Raging Bull [1980] directed by Martin Scorsese
- crowd • voices • commentator • low hum • distant voices • wind • industrial fx • roar • punches • cameras • body impact • flesh • gore

"Looking through my sound library books, I went through airplanes, jet sounds, I used arrows slowed down - wwwwhhhoooossssh - you've got a lot of that. These sounds all kind of blend . I do all that in my selection of the library that pertains to the picture. It was a combination of thirty to fifty sounds - in that general area. The picture is tellling me what it wants all the time. Pretty soon it's just screaming, saying, "You've got it - put it in!" You've being specific to a movie. I would just sit in there, and these sounds were working. I created the material, and it's like putting in phrases of music in a score. It's marvelous, all of a sudden things happen all over the picture, the screen comes to life - it's exciting." [Frank Warner talking about Raging Bull]

Why are sound crews today so much larger than they were during most of your career?

"The whole problem in the industry is time. Now they don't have time. Money doesn't seem to be as big a problem as time. Somebody gives a release date not thinking about anybody on the way up, so everybody has to follow. So they say, "Go out and hire an army". They put guys in garages all over town, building sound effects. I never did that. I had the smallest amount of people. I was fortunate enough to have two sound editors who followed me all through my later career. A producer goes out to dinner and says, "We did that in three months". So they come to you and say, "You've got three months." The studio says, "They did it. Get an army, get fifty people." I'd have calls that said, "Frank, I've got this film. I want you to do it and I've got three weeks to do it in." My reaction was, "We're not having this conversation. Let's talk about something else, because I don't talk about film this way." [Interview excerpts with sound editor Frank Warner (Raging Bull, Taxi Driver, Close Encounters of the Third Kind) from the 1994 book Sound-On-film: Interviews with Creators of Film Sound]

Sound Department [IMDB]

Michael Evje ... sound mixer
Gary S. Gerlich ... sound effects editor
Walter A. Gest ... recordist (as Walter Gest)
Richard Guinness ... boom operator
David J. Kimball ... re-recording engineer
Les Lazarowitz ... sound mixer
Victoria Martin ... assistant sound effects editor
Donald O. Mitchell ... re-recording engineer
Bill Nicholson ... re-recording engineer
Gary Ritchie ... recordist
Robert Sciretta ... cableman
Murray Siegel ... cableman
Chester Slomka ... sound effects editor
Pat Suraci ... boom operator
Frank E. Warner ... sound effects supervising editor (as Frank Warner)
Bill Wylie ... sound effects editor (as William J. Wylie)
Ken Dufva ... foley artist (uncredited)

CINEMA OF NOISE #93 - May 28th 2016
+ Weekend [1967] directed by Jean-Luc Godard
- car horns • crowd • voices • car engines

Sound Department [IMDB]

René Levert ... sound

CINEMA OF NOISE #92 - May 25th 2016
+ A Spell to Ward Off the Darkness [2013] directed by Ben Rivers and Ben Russell
- crowd • voices • reverse processing • noise • feedback • guitar

Sound Department [IMDB]

Niels Barletta ... sound mastering engineer
Nicolas Becker ... sound fx recording / supervising sound editor
Philippe Ciompi ... sound editor / sound recordist
Raphaël Devillers ... sound mix technician
Chu-Li Shewring ... sound recordist
Matthieu Tertois ... sound mix technician

Lichens ... music

CINEMA OF NOISE #91 - May 23rd 2016
+ Band of Ninja [1967] directed by Oshima Nagisa
- movement • earth • wind • body fall • voice • tree break • rocks • wood

Sound Department [IMDB]

Hideo Nishizaki ... sound