The Sound of Saute ma ville

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F61384984%3A51310%2F19%3AN0000134" target="_blank" >RIV/61384984:51310/19:N0000134 - isvavai.cz</a>

Výsledek na webu

<a href="http://www.iluminace.cz/index.php/cz/article?id=227" target="_blank" >http://www.iluminace.cz/index.php/cz/article?id=227</a>

DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

The Sound of Saute ma ville

Popis výsledku v původním jazyce

Saute ma ville (1968) is the first lm by Chantal Akerman (1950–2015). Her portfolio includes conventional and experimental approaches, both in fiction and documentary, essays, visual portraits. Every film is a new attempt, searching for an approach that altogether still remains as her individual aesthetics. In this film, most of Akerman’s attitude is already shaped: the simplicity, the intentional nativity that distracts the audience for what is to come, the feeling of verité, as much as the feeling of "nothing happens" so characteristic of hers. Under the scrutiny of Acousmatic Foley’s concepts ("sound-prop", "sound-actor" and "sound-motif"), this paper proposes a closer look at the author’s soundtrack: listening to each choice of the design as intentional and purposeful. If initially the soundtrack seems baffling, matching a general defective period of sound in film history, it is also in the front line of what sound design should be: a storyteller.

Název v anglickém jazyce

The Sound of Saute ma ville

Popis výsledku anglicky

Saute ma ville (1968) is the first lm by Chantal Akerman (1950–2015). Her portfolio includes conventional and experimental approaches, both in fiction and documentary, essays, visual portraits. Every film is a new attempt, searching for an approach that altogether still remains as her individual aesthetics. In this film, most of Akerman’s attitude is already shaped: the simplicity, the intentional nativity that distracts the audience for what is to come, the feeling of verité, as much as the feeling of "nothing happens" so characteristic of hers. Under the scrutiny of Acousmatic Foley’s concepts ("sound-prop", "sound-actor" and "sound-motif"), this paper proposes a closer look at the author’s soundtrack: listening to each choice of the design as intentional and purposeful. If initially the soundtrack seems baffling, matching a general defective period of sound in film history, it is also in the front line of what sound design should be: a storyteller.

Druh

J_SC - Článek v periodiku v databázi SCOPUS

CEP obor

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OECD FORD obor

60405 - Studies on Film, Radio and Television

Projekt

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Návaznosti

I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Rok uplatnění

2019

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název periodika

Iluminace. Časopis pro teorii, historii a estetiku filmu

ISSN

0862-397X

e-ISSN

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Svazek periodika

31

Číslo periodika v rámci svazku

4

Stát vydavatele periodika

CZ - Česká republika

Počet stran výsledku

13

Strana od-do

47-60

Kód UT WoS článku

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EID výsledku v databázi Scopus

2-s2.0-85083247113