EXPERIMENT IN INFLUENCE

 
 

In an exploration of influences, the workflow of the creation of a film can be broken down into four sections: Aural, Written, Visual and Editorial.  Each section has limitations and unlike most film making, the sections cannot communicate other than through the element they create. 


The Aural element is created first by a composer or sound designer as the primary influence. 


The Written element is created by a writer who receives the music and writes any body of text influenced by the music.  The text is then delivered to the Visual stage.


The Visual element is created by a director, influenced by the writing.  However, the Director will not listen to the music because their only source of influence will be the written material.  Once the Director has shot components of the visual element, the footage will be delivered to the editorial stage. 


The Editorial element is created by an editor who is influenced by both the Visual and Aural material but only has the ability to cut and edit the Visual material.  The editor may not place text in the body of the work, only at the beginning or end, and may not use any filters other than color timing. 


There will several threads of the sections stemming from the same Aural element.  Once each thread is completed, the threads may be played simultaneously to explore the various interpretations and the ability of influence. On a larger scale, it would be important to have each thread contain participants from various industries and schools of thought.  This would allow for more variation in through processes.

 

AN EXPLORATION

STRING ONE

Michaela is a composer displaced into film.  As a student, she studied the aesthetics and criticism of film as part of receiving a Bachelor of Arts in Media Arts.   At the same time, she was also composing music, running production sound and editing sound in post for fellow students' films.  While working on a minor in music, Michaela took an electro-acoustic music class taught by Craig Walsh, a member of SEAMUS (Society for Electro-Acoustic Music in the United States).  Coming to this class with a background in sound design and film composition, she began to explore the relationship between sound design present in film and music.  Music conventions were called into question as the class explored the theory behind twentieth century music.  As a result, Michaela closely examined the conventions present in film and the process of making films.  Conventions result from influence and continue the influence upon media.  The final project of the class was to write an electro-acoustic tape piece using the techniques explored in class.  As a film maker, Michaela was concerned with the intent of the piece, and decided that it would serve well in an exploration of influence.

STRING TWO

STRING THREE

HISTORY

STRING FOUR

SOUND DESIGN ~ SOUND RECORDING ~ MUSIC COMPOSITION