On Saturday, I attended the 1:30 panel for Make Strange the Senses: Asynchronicity as Method and Argument.
While I wish I could have understood more about what was discussed, being an extreme novice in film making made it difficult to grasp what exactly the panelists were conveying in regards to asynchronicity and its impact on film, specifically those of nonfiction, and the audience.
At length, the panelists talked about what asynchronicity is, the challenge of identifying whether the sound is asynchronous or simply off screen, and what it offers to the image.
One of the things that stuck out to me the most was the notion- brought up by Asbjørn Tiller about the film Still Life with Ho Chi Minh- that sound can be a constant while it is the image that is asynchronous. Along with that, another interesting topic was one of the projects mentioned by panelists Asbjørn Tiller and Marit Kathryn Corneil.
Two films- one of which I believe is A Spell To Ward Off the Darkness- by Ben Russell and Ben Rivers were apparently filmed together, but asynchronous in sound. These films, which debuted one or two years apart from one another, contained footage from one film was accompanied by sound that belonged to footage in another. The example they showed us during the panel was a clip from one film of two people in the forest, with an unrecognizable sound in the background. They then showed us a clip from another film of a volcano, with synchronous volcano sounds, and revealed to us that the unrecognizable sound in the first clip was, in fact, the volcano.
Now, as interesting as that was, I am unsure as to how asynchronous sound like that is supposed to impact the film. What exactly was the intent behind putting that particular sound with that image? I have no idea.
After that panel, I feel more confused than before.
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