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john roach

Science of Storytelling 6: How Sounds Optimise Audience Engagement in Movies | Keith Bo... - 0 views

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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)."
john roach

Imaginary Landscapes: The turntable as instrument - YouTube - 0 views

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    "A documentary on the artists and musicians pushing turntables to the limit in experimental music. Featuring Maria Chavez, Graham Dunning, Shiva Feshareki, Philip Jeck, Haroon Mirza, Marina Rosenfeld, Janek Schaefer, and Vinyl, Terror & Horror. Directed by Sam Campbell (www.samcampbell.net) Produced by The Vinyl Factory"
john roach

The search for Mexico's drug war victims, distilled into sound art | PBS NewsHour - 0 views

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    "What does it sound like to look for a lost loved one? This art installation doesn't look away from the horror and pain of that reality. At University Museum Contemporary Art in Mexico City last year, multiple speakers wrapped visitors in a sonic collage, recorded from a group of civilians, made up of mostly women, who search the desert for "clandestine graves" of missing loved ones."
john roach

Sculpting the Film Soundtrack | Sounding Out! - 2 views

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    "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."
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