* 2007-2009
* Caligari Project (stage) 2009
... soundtrack of the original?

Film * Stage * Web :

From 2009
"Sound" UNIT from Film & movies class


t-blog --

stagematrix.vtheatre.net + cine101 w/Anatoly Tel: 011-251-910566800


Filmmaking & Theory *
2007 film.vtheatre.net : Ch. 9 -- Film Art [347] Amadeus in class * textbook

sound in directing.filmplus.org

Sound Effects and Narration

Sound Motifs



Film Mining -- Links
Film Directing Shot by Shot : Visualizing from Concept to Screen A complete catalogue of motion picture techniques for filmmakers. It concentrates on the 'storytelling' school of filmmaking, utilizing the work of the great stylists who established the versatile vocabulary of technique that has dominated the movies since 1915. This graphic approach includes comparisons of style by interpreting a 'model script', created for the book, in storyboard form.
* Diegetic sound can occur either on screen or off screen; in other words we can either see the person or object that is making the sound (on screen) or we don’t (off screen).

* Nondiegetic sound is sound which we do not recognize as part of the film world such as a voice-over or background music.

Select One
Piano Concert
Symphony#1 Most likely we will try Radio Theatre @ Virtual Theatre, using streaming audio, which is more easy to broadcast. Very likely I have to make another page for this project.

Last time I did Radio Theatre in Moscow, for Radio-Moscow. They closed the "Radio-Novel" project, because too many listeners got offended. I think the script (mine) was bad and it had nothing to do with the ideology. I tried my best to be Soviet.

Total Directing
Total Acting
2003: reading list:


Before I can direct anything, I have to see it. Sometimes you don't see, but your hear -- sounds, musics, melody... If I see, but do not hear, I am not ready.


goto : tarkovsky.wetpaint.com wiki
Sight, Sound, Motion: Applied Media Aesthetics Developed at San Francisco State University, this textbook isolates the five fundamental image elements of television and film--light and color, 2D space, 3D space, time/motion, and sound--examines their aesthetic characteristics and potentials, and structures them in their respective aesthetic fields. The fourth edition adds sections on inductive shot sequences, electronic cinema, and alternative storytelling techniques. ***


Teaching, Writing, Film -- directing + theory, Webbing, 2006

Content copyright protected by Copyscape website plagiarism search


Uses of Sound

Types of Sound

Sound in Relation to Picture

Perceptual Characteristics of Sound

Tech Theory

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... Sound and Space, Sound and Time


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Bergman - Film with Anatoly


"The most exciting moment is the moment when I add the sound... At this moment, I tremble." Akira Kurosawa

...sound gives a new value to silence.

Film Directing 101

There is a new sound page in afronord.tripod.com/film (main directory)!

Sound Page

Truly cinematic sound is neither merely accompanying sound (easy and explanatory) nor the natural sounds captured at the time of the simultaneus recording. In other words, cinematic sound is that which does not simply add to but multiplies, two or three times, the effect of the image. -- Akiro Kurosawa
In Herbert Zettl's book SOUND comes in very late: chapter 16 and 17 (two last in the book) -- The Five-Dimensional Field. Why?

We are more consciously aware of what we see than of what we hear!

Visible & Invisible Sound

Objective POV in Sound

Subjective POV
and CU
Slow-Motion Sound
Dead Screen
Silence as a Sound Effect

Juxtaposition of Sound and Image

Sound Effects

Ambient Sounds

Sound as a Plot Device

Sound as a Transitional Element
Sound Links




Combination of Sound & Color

Functions: Heightening the Drama
Sense of Time & Place
Dramatic Tention, Characterization, Interior Monologue

Music = a Base for Choreographed Action

Elements of Sound

Potemkin -- see Eisenstein Page

Change the background sound and see how different the picture will be!

Counter-point -- when sounds conflicts with image.

Read Eisenstein's chapter on sound.

Now you add the color dynamics (first field).

[see sound tract page]

Sound Structures


Color Cut Filmmaking Fmaking Index

Most of the notes for classes posted @ Directors Forum, the list I use for film classes (you are welcome to subscribe).

Also, the further exploration of film topics at my new Virtual Theatre; we try to incorporate the streaming video technology in our theatre productions -- and the film techniques are important, of course! See for yourself -- WWWilde: Fall Y2K Production of "The Importance of Being Earnest" (check the links to 3 Sisters: Method & Realism and 12Night: Comedy & Biomechanics).



I link back all SUBJECT pages to the FILM (Production Directory). Please read the webpages before class!


When do I start working on the sound track? Start, when you do your Shot-by-Shot book!

[ returm to soundtrack page ]


Paper filmmaking: do music video (storyboard) for your favorite song. You also can use the Real Producer G2 (big) to edit images to music on your desktop.

[ check the sound for stage pages ]


More your think about the sound before your shoot, the better off you are at post-production. If you have to put music at the end of editing; most likely you didn't get dramatic footage to stand on its own. Less "mood-music" you, better for your film. Always prefer the sound over music.

Selection, Alternation, and Combination: Choosing and Manipulating Sounds. Sound Mixing. Sound and Film Form. Sound and Perspective. Time. Music.

* F-Dictionary

TOPICS: drama + comedy + postmodern + time + space + death + self + imdb + history + scripts + amazon.com/kindle
@1999-2003 film-north *

film house vtheatre books acting ScriptAnalysis map-mining movies-forum

[ http://kn.open.ac.uk/public/getfile.cfm?documentfileid=846 ] ...It is easy to overlook the role of sound on film as simply that of accompanying the moving images. As Bordwell & Thompson (1986) demonstrate with a sequence from ‘Letter from Siberia” by Chris Marker, sound in a film can “actively shape how we interpret the image”. The sequence repeats the same four shots three times, each repetition accompanied by a different sound track. The commentary for each gives a completely different interpretation of the pictures, men that were working in the “joyful spirit of socialist emulation” on one commentary were “Bending like slaves” in the next. A viewer presented with either commentary would have little reason to doubt the description of the pictures as accurate.

Sound in a film can also direct the viewer’s attention to something in the image. A viewer will try to find the relevance of any image to the narrative and will soon pick out a known character from a crowd on the screen. Similarly sound can direct the viewer’s attention to what they should be looking at on screen. If the picture of a crowd was shown and the commentary said something about children, the viewer would automatically think “ah - it’s children that the narrative is talking about” and begin to pick out the children from the crowd.

Sound has an active interaction with the film image and narrative. Bordwell & Thompson (1986) use the example of a close-up of a person with the sound of a creaking door off-screen- the person looks up. If the next shot showed the open door, viewers would focus their attention on that. Or perhaps if the next shot showed a person in front of the door - they must have just entered. Or if the next shot showed a closed door then the viewers would ask themselves what the sound was. This way the sound has focused attention, clarified an event, or rendered an event ambiguous.

The sound of the door creaking would create the expectation that someone had entered the room. The viewer would expect the next shot to show who, but the director could stay on the shot of the man looking increasingly alarmed thus creating the impression something sinister is off-screen and creating tension. Even silence can be used for dramatic effect in film.

The correct sound adds depth and atmosphere to a scene (e.g. wind whistling or birds singing). Sound can be used over edits to make a relationship between locations (e.g., cut from loud party to darkness outside with muffled music some distance away). There are many possibilities.
David Bordwell and Kristin Thompson, Film Art: An Introduction, 6th ed. (New York: McGraw Hill, 2001)

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