Panel #7

Analog and Digital Media(sound)scapes

Maud Ceuterick

University of Bergen

Arnaud Widendaële

Université de Lille - CEAC

Valerio Sbravatti

Università “La Sapienza” di Roma

Wednesday - November 4th
10:30 - 11:30 Playlist #7
11:30 - 12:30 Sound discussion #7
Channel 2

The aurality of post-cinema: Towards an affirmative queer space

Maud Ceuterick (University of Bergen)

Despite the burgeoning interest in the creation of imaginative spaces in augmented reality and virtual reality (AR and VR), very little focus has been given to sound. In post-cinematic aesthetic, speech helps the audience make sense of an accumulation of images that would not make sense otherwise (Steven Shaviro, 2010, following Michel Chion, 1990). This paper argues that sound forms the backbone of virtual reality, as it both produces the virtual space, and makes visible what images fail to convey. In particular, aural storytelling in virtual reality pieces such as Travelling While Black (Williams, 2019) and Homestay (Smith, 2018) gives visibility to images that remain in-visible, whether absent or unable to be viewed for what they are. As the orality of these works gives materiality to issues of racism and immigration,the viewer becomes an embodied listener, and potentially active participant.

Maud Ceuterick

Maud Ceuterick is a Marie Sklodowska-Curie Fellow in Digital Culture at the University of Bergen, Norway. She obtained her PhD in film and media studies from the University of Otago. Her research deals with the relations between gender, space and power on screen, which is the subject of forthcoming monograph Affirmative Aesthetics and Wilful Women: Gender, Space and Mobility in Contemporary Cinema (Palgrave Macmillan, 2020). She has published on the road movie genre, masculinity and domesticity in transnational cinema, and women and everyday spaces on screen, among other topics

Entre familiarité et expertise: la parole dans la culture vidéophile

Arnaud Widendaële (Université de Lille - CEAC)

Cette communication voudrait interroger la place de l'oralité à l’intérieur de la culture vidéophile en s'intéressant plus particulièrement à ces espaces de parole que sont les vidéoclubs.

Il s'agira d'abord de définir la part dévolue à la parole dans l'identité sociale de l’employé de vidéoclub, à partir de sources variées. Nous dégagerons, dans un deuxième temps, la dimension orale de la presse vidéo à partir d'une série de titres français spécialisés comme Vidéo 7, Télé Ciné Vidéo et Vidéo club. Enfin, l'importance de l'oralité dans la culture vidéophile sera mise en lumière via différentes pratiques témoignant, à l'heure actuelle, de la survivance du vidéoclub sur internet après la fermeture de la plupart des enseignes – survivance exprimée par la mise en scène d'une parole à la fois familière et experte.

Arnaud Widendaële

Arnaud Widendaële est docteur en études cinématographiques et chargé d’enseignement à l'Université de Lille Nord de France. Il a soutenu une thèse en 2016 intitulée «La vidéo au regard du cinéma: pour une archéologie des "idées de vidéo" dans la presse cinématographique française (1959-1995)». Il a participé dernièrement à l'ouvrage collectif Les Fantaisies de John Ford, au n°20 de la revue CIRCAV consacré aux génériques de films, et au dossier «Les naissances du numérique» de la revue Sens public (contributions à paraître). Il collabore, enfin, à la revue débordements

You are there, they are here: Adventures in the stereoscape

Valerio Sbravatti (Università "La Sapienza" di Roma)

Stereophony was developed in the 30s thanks to separated research in both the US and the UK, which lead to experiments of films with realistic stereophonic sound. However, it was introduced commercially only in the 50s, in cinema as surround sound and in music as stereo LP albums. The standard approach in both cases was the realistic one called “you are there”, i.e., the impression of being in the real space of the performance. In the 60s, while films were still normally monophonic, stereophony became the norm also for pop music, which follows the approach named “they are here”, i.e., the impression that the artists are placed in the listening space for the benefit of the user. The advent of Dolby Stereo during 70s was a key event in the history of film sound: heightened the audience’s awareness of the important role of sound in the spectacular impact of cinema. The talk aims at reflecting upon the relationship between film stereophony praxis (and its parallels in music mixing) and commercial and popular discourses regarding the contribution of stereophony in terms of realism, immersion, and emotional impact.

Valerio Sbravatti

Valerio Sbravatti (1988) has a PhD in Music and Performing Arts from Sapienza University of Rome, where he currently is an adjunct professor of film studies. His main research interests are film sound and film music, spatial sound, horror films, and film philology. He has published articles in the Italian film criticism magazine Segnocinema (of which he is a collaborator) and in peer- reviewed journals such as Music and the Moving Image, Projections: The Journal for Movies and Mind, Imago, Cinergie, and La Valle dell’Eden. He has also published two monographs: Allegro non troppo: Vedere la musica e ascoltare i disegni (Rome: Il Glifo, 2015), and La cognizione dello spazio sonoro filmico. Un approccio neurofilmologico (Rome: Bulzoni, 2019). He is a musician and an amateur sound mixer