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" Science of storytelling 5 identified specific sounds that filmmakers use to scare us in horror-thriller films. In this article, I will be revealing the science of how different sounds in horror-thriller films optimise engagement. The research findings are based on a 5-year scientific study of suspense and engagement in horror-thriller films. I will first summarise the film experiment research methods and how our brain responds to a fear stimulus through a chain of neurological processes that can be recorded and analysed. Finally, the research outcomes (highlights) describe how viewers physiologically responded to specific sounds in horror-thriller films, in terms of anxiety durability (time) and intensity (level)."

"When Shane Carruth's film Upstream Color was released in 2013, critics described it in various ways-as a body horror film, a sci-fi thriller, a love story, and an art-house head-scratcher-but they all agreed that it was a film "not quite like any other". And while the film's cryptic imagery and non-linear editing account for most of the "what the hell?" reactions (see here for example), I argue that the reason for its distinctively hypnotic effect is Carruth's musical approach to the film's form: he organizes the images and sounds according to principles of music, including the use of repetition, rhythmic structuring, and antiphony."

"Stephanie Spray and Pacho Velez's (literally) transporting film-shot inside a cable car that carries pilgrims and tourists to and from a mountaintop temple in Nepal-is radically simple in conception. Each of its 11 shots lasts as long as a one-way ride, which corresponds to the duration of a roll of 16mm film. A kind of head movie that viewers are invited to complete as they watch, Manakamana is thrillingly mysterious in its effects: a staged documentary, a cross between science fiction and ethnography, an airborne version of an Andy Warhol screen test. Working within a 5-by-5-foot glass and metal box, Spray and Velez have made an endlessly suggestive film that both describes and transcends the bounds of time and space."

"I have been making optical sound film experiments since I discovered that a 16mm film projector has this thing called an optical sound head, which 'reads' light and dark and marks on the film surface and turns them into sound."

"Conceptually the film was a joy to work on as sound designer, as the premise was essentially a musical conversation between Richard, the instruments, his musical collaborators and the New Zealand landscape, beautifully filmed by Alan Bollinger and sympathetically edited to allow room for the music & sound to fully engage. And thanks to a beautiful mix by Mike Hedges & Tim Chaprione at Park Road Post, I think the film achieves the admirable goal of experiencing the world of its music, rather than just observing it."

"KIMA: Noise by Analema Group explores how urban noises affect our physical, mental and emotional wellbeing.  Following an activity at Tate Exchange with noise expert Prof. Stephen Stansfeld, community groups such as Better Bankside, residents, and researchers in the field of urban noise, we invite you to the premiere of the art film KIMA: Noise. Participants will explore the topic of noise pollution, the effects of noise on human health and wellbeing, through the film and in an online workshop with the artists and experts. KIMA: Noise raises awareness about noise and asks important questions on what we can do to mitigate its effects on health www.analemagroup.com ​"

"Made in 1924 by Viking Eggeling, "Symphonie Diagonale" is the best abstract film yet conceived. It is an experiment to discover the basic principles of the organization of time intervals in the film medium. This version was restored by Gösta Werner in 1994 in collaboration with The Swedish Filminstitute. Music by Olga Neuwirth, 2006."

"In what we do, sounds don't just happen to exist with an 'in-built' and 'necessary' essence; they don't just have an "in-itself" by default. And even if, from time to time, there could still be a trace of the source that could have produced such sound, it is but one of the many possibilities of what a sound event or a sound object [2] may potentially be or become to us: A sound is, in our hands and in our films, the thing, not in-itself but as it makes itself manifest to the listener"

""Sound design is the main contributing factor to the mood and atmosphere of any film," Charlie Battin wrote in a 2015 piece for the BFI Film Academy. "The visuals are what the viewer tends to mostly focus on and the sound subconsciously alters how the visuals are perceived.""

"n Pursuit of Silence is a meditative film about silence, our relationship with sound, and the impact of noise on our lives. In our race towards modernity, amidst all the technological innovation and the rapid growth of our cities, silence is now quickly passing into legend. From the Desert Fathers of the third century AD who became the model for Christian monasticism to John Cage's seminal work 4'33" which would go onto inspire a generation of artists, humankind has had a long fascination with silence. In Pursuit of Silence will be the first comprehensive look at this topic whose many dimensions lie at the heart of so much of human progress. Offering audiences a contemplative cinematic experience, the sights and sounds of this film will work its way through frantic minds, into the quiet spaces of hearts, and help shape a new vision of being."

"In his discussion of the association between sound and visuals, Michel Chion, a prominent film theorist and the author of Film, A Sound Art claims there are three categories of sound that can be coupled, blended, and traversed in a multitude of different ways as opposed to the simplistic categories of only "offscreen" and "onscreen" audio. "

"An exploration of diagetic and asynchronous sound in Arrival (2016, Dir. Dennis Villeneuve), and it's use in conveying structural and stylistic elements of film narrative. Created for a FILM 101 project at Victoria University of Wellington."

"Center for Visual Music is a nonprofit film archive dedicated to visual music, experimental animation and avant-garde media. CVM is commited to preservation, curation, education, scholarship, and dissemination of the film, performances and other media of this tradition, together with related historical documentation and artwork."

Sound by Ernst Karel - "The faces in "Manakamana," a transporting ethnographic film set in a green sliver of Nepal, stare into the camera, out into space and, perhaps, into the great beyond. The faces are sometimes creased and weathered, sometimes smooth as pebbles. A few look etched with worry, as if they were weighed down by a heavy burden, although they may also be seized with fear. That's because for 10 or so minutes at a time, these faces are floating hundreds of feet above a lush Nepali forest in a cable car that takes pilgrims to and from the temple that gives this film its rhythmic title. "

" Ernst Karel is Lecturer on Anthropology, Assistant Director of the Film Study Center, and Lab Manager for the renowned Sensory Ethnography Lab at Harvard University. In his audio projects, he works with analog electronics and location recordings, sometimes separately, sometimes in combination, to create pieces that move between the abstract and the documentary. Karel collaborates with filmmakers as a sound recordist, mixer, and sound designer. Notably, Karel has worked on key films produced at the Sensory Ethnography Lab including Sweetgrass (2009) and Leviathan (2012), both of which were released in UK cinemas via Dogwoof."

"Van Dam and de Boer have developed the following idea from these different interests. In several recordings of Dam filmed (and sound is recorded) when he performs Sequenza VIII . Emphasizing first half total, the body and the intimacy with the instrument. Then abstract details filmed, like his hands, his ear, details of the violin, strings and the like. In the editing is from the portrait / body of the violinist a more fragmented, abstract image created a physical, gives spatial experience in the tension between the music and the image rhythm. If the body and the violin in abstract details and solve dancing away in the (sound) space."

THE SCHOOL OF SOUND began in 1998 as a single, four-day event aimed at exploring the creative use of sound in the arts and media, with a special emphasis on film and screen productions. It was responding to the limited opportunities to study sound, particularly for film. Our first event attracted over 200 people from 25 countries. The programme featured Walter Murch, Michel Chion, Piers Plowright, Mike Figgis, Laura Mulvey, Peter Kubelka and the Quay Brothers. Since then, the SOS has expanded its programme to include weekend seminars, intensive practical workshops, lectures, 'listening' events, consultancies for professional practitioners and, of course, the international symposium held every two years.

This is just one video, poke around on the site to find more. "Anechoic is a 'collections story' that uses sound instead of visuals to interpret the essence of key garments from the Autumn/Winter 2006 collections by leading fashion brands. Part of a series of projects devoted to exploring 'The Sound of Clothes', these interactives and fashion films explore sound 'generated' by the garments themselves."

"Between 2011 and 2013, thieves committed a rash of burglaries at 12 high schools in the Los Angeles region, stealing tubas from band rooms across the southland. This curious anecdote provides the title for artist Alison O'Daniel's recent film The Tuba Thieves. Although it features re-enactments of the thefts, the film does not focus solely on the incidents; instead, it weaves these scenes together with other loosely related narratives into a patchwork dealing with loss, grief, communication, community, challenging shifts in perspective, and the different ways we experience the world through sound, vision, and touch."

"Who raises the alarm, and in whose interest? What might a siren sound like for the entangled human, non-human, and more-than-human? This collection emerges from and expands upon a three-day program at Tate Modern, held alongside the premiere screening of Aura Satz's film Preemptive Listening. The programme brought together musicians, artists, historians, sociologists, and activists (several featured in the film), to think through the siren-not simply as an emergency signal, but as a tool for listening, remembering, sensing, and reimagining. Speaking to the sirens that are and those that could be, from sonic warfare to ecological disaster, the conversations circled back to recurring questions of how we might rewrite the scripts of urgency, survival, and resistance. "