|
|
|
|
| |
|
|
|
| PETER STRICKLAND |
|
| GREEK FILM ARCHIVE |
|
|
|
|
 |
|
| Born in 1973 in Reading, UK. After making a series of short films in the early nineties, he founded The Sonic Catering Band in 1996, focusing on electroacoustic treatments of culinary performances. He also released sound poetry and entomological recordings on his Peripheral Conserve label, which ran up until 2004. All these sound experiments went towards his first feature, 'Katalin Varga', which won a Silver Bear at the 59th Berlinale for Sound Design. |
|
|
|
|
| THE RONIN / ROB CHIU |
|
| GREEK FILM ARCHIVE |
|
|
|
|
 |
|
Rob Chiu will be showcasing some of his title work which crosses a wide variety of media, from tv program titles to design conference titles to feature film titles. Rob will be talking about the process behind this while also showing his more recent work which is now pushing into full narrative film.
London based Chiu has worked under the alias of The Ronin for 9 years as a Director of Live Action and Animation, working for clients such as Leica Cameras, BBC, Greenpeace, EMI Records, Nokia, The Mill and Channel 4. His short narrative based films have been featured in a number of film festivals including Edinburgh, OneDotZero and Resfest while gaining awards along the way. He has given talks on his work at various design conferences such as Adobe Max, OFFF Barcelona, OFFF New York, OFFF Lisbon, Flash on the beach, FMX, Toca Me and FITC Toronto and is regularly invited to run workshops at Universities and institutions around the world.
Worldwide Commercial Representation Stink
North America & Canada Commercial Representation Curious Pictures |
|
|
|
|
| Medea 70 |
|
| GREEK FILM ARCHIVE |
|
|
|
|
 |
|
| Michalis Papanikolaou, director of the awarded short film Medea 70, talks about the way sound design was realized and also about the use of music in the film, 40 years after its first preview. |
|
|
|
|
| LARRY SIDER |
|
| GREEK FILM ARCHIVE |
|
|
|
|
 |
|
Sound Changes the Image
To an extent we all take the combination of moving pictures and sound for granted in our daily lives – particularly as they seem to be ever more ubiquitous and invasive. Getting it right can lead to perhaps the most powerful form of communication and connection with audiences; getting it wrong can create ‘interference’ and disconnection. Larry Sider provides an insight into how, in all areas of art, entertainment and business, we can most effectively communicate with sound.
Larry Sider is Director of the School of Sound and was previously Head of Editing, Sound and Music at the National Film and Television School. He is a film editor and sound designer who has worked for thirty years in documentary, animation and fiction. Most recently, he created soundtracks for the Quay Brothers’, The Piano Tuner of Earthquakes, and Dave McKean’s, Mirrormask. Past projects include Patrick Keiller’s London and Robinson in Space, and Street of Crocodiles and Institute Benjamenta by the Quays. From 2000-2003, he consulted on LISTEN, an EU-funded research project led by IRCAM, the University of Vienna and AKG Electronics, devising new software to create audio-augmented environments in gallery and museum spaces. He has lectured at numerous schools including the Royal College of Art, IFS (Köln), European Film College (Ebeltoft), California Institute of the Arts, Surrey Institute of Art and Design, Maurits Binger Institute and Bournemouth Media School. He is co-editor of The Soundtrack Journal.
Sider has elevated the profile of sound in screen production through the biennial symposium, the School of Sound, an international four-day event exploring the use of sound in film, multimedia and digital art. At the core of the SOS is the integration of theory with practice, and art with entertainment. Speakers at the SOS have included Oscar-winning sound designers Walter Murch and Randy Thom, composers Gabriel Yared, Carter Burwell, Simon Fisher Turner and Heiner Goebbels, and directors Ken Loach and Mike Figgis. From these meetings came the book, Soundscape: The School of Sound Lectures 1998-2001. The next SOS will be held in Ghent, Belgium in April 2011.
www.schoolofsound.co.uk |
|
|
|
|
| SOUND PANEL |
|
| GREEK FILM ARCHIVE |
|
|
|
|
 |
|
| Open discussion regarding the sound and music of the movie "3 moments", between its director (Petros Sevastikoglou) and its sound contributors (Sound design: Kenan Akawi, Music: the Prefa-bricated Quartet, Mix: Kostas Varybobiotis) |
|
|
|
|
| ADAM LEE DAVIES |
|
| GREEK FILM ARCHIVE |
|
|
|
|
 |
|
A Brief History of Movie Title Sequences
What do the films ‘Dr. Strangelove’, ‘Iron Man’, ‘The Pink Panther’ and ‘Run Lola Run’ all have in common? All are very decent movies, yes, and all feature memorable opening title sequences that somehow capture the essence of the films they open or close.
From the early days of cinema, filmmakers have understood the extraordinary benefits of the opening credit sequence. It can be used to draw the audience in, to put them on their guard, to charm, mislead or amuse them.
Movies today are becoming more market-conscious and committee-led than ever, with your average blockbuster pandering to every demographic and regularly pleasing none. But one area of film that has maintained and steadily developed a level of artistic integrity and audience appreciation is that of the opening title sequence.
Looking back over the last century, Adam Lee Davies selects some of the most evocative opening sequences in all of cinema and charts the evolution of the artistry and technology that make up what has become an integral component of the modern moviegoing experience.
Adam Lee Davies is a London based film journalist and critic whose work has appeared in Creative Review, The Guardian, Time Out London and Monocle amongst others.
www.adamleedavies.com |
|
|
|
|
|
|
