The audio for Popehelm and To Be Here
- Submitting institution
-
University of Hertfordshire
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 24753005
- Type
- I - Performance
- Venue(s)
- London, Michigan, Seattle
- Open access status
- -
- Month of first performance
- May
- Year of first performance
- 2016
- URL
-
-
- Supplementary information
-
-
- Request cross-referral to
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
0
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- Audio for To be Here and Popehelm provide the sound for two eponymous films by Sam Jury (UH). Both works set out to examine the degree to which the design of a sound track might be used to enhance the emotional impact and performative dimension of artists’ film, a medium in which sound frequently plays a subaltern part, and the technical requirements to achieve this aim. The soundtracks explore the way in which electroacoustic sound might find a wider application in this genre and the aesthetic implications concerned when experimental sound is harnessed to experimental film. To this end, both films deploy a combination of ‘on-camera’ audio recording, vocal recordings produced by the film maker and additional contextualising sound recordings by Godman. Popehelm, for example, merges three distinct audio forms: dissonant cinematic sound made to create a dystopian environment, the sound of personal narrative, and an experimental use of voice to create acoustics spaces. Here, ambient spaces are created that have both diegetic and non-diegetic qualities; in turn, hybridised vocals are created through combining one form of acoustic with another. Similarly, with To be Here, Godman remastered and re-orchestrated Jury’s existing sound, designing it spatially for an installation by bringing together two different sound spaces so that they flow and transition as the visitor walks into the space. The audio for To Be Here, was shown at the Broad Art Museum, Michigan as an immersive installation with an octophonic soundscape before being finally reworked for the film demonstrated how multichannel sound pieces can be shown effectively in a visual arts environment. The output comprises sound track and contextualising images of the installation.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -