A Chronicle for Our Time: Sergei Loznitsa's <i>The Blockade</i> (2006)

Youngblood, Denise J.

doi:10.1111/j.1467-9434.2007.00465.x

Cited by 3 publications

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“…Sergei Loznitsa's Blokada (1995) 12 is a 52-minute documentary created from four hours of archive footage of the siege of Leningrad, punctuated by blank screens that for Youngblood recall the blackouts experienced by the besieged. 13 Text is used briefly, at the start and end of the film only, and there is no narration. Blokada instead relies on its newly created soundtrack to (re-)animate its sparse (and in many ways) limited images.…”

Section: Audio Primacy In Audiovisual Relationshipsmentioning

confidence: 99%

Layering the Senses: Exploring Audio Primacy in Multi Sensory Cinema

Dalgleish¹

2021

Reproduced Sound 2021

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Numerous authors have argued that cinema is fundamentally visual, while Chion contends that sound and image are so inseparable that, in effect, the soundtrack does not exist. By way of a forwardlooking case study, this paper discusses And a Funeral; a post-anthropocenic retelling of the 1994 rom-com Four Weddings and a Funeral from the perspective of the coffin. Drawing on aspects of prior sound-led films and audio-only video games, And a Funeral proposes a cinematic model in which the auditory is primary but supplemented by other sensory layers (visual and olfactory) that are not necessarily experienced synchronously. The film is 'completed' by each audience member and is highly relevant to diverse access needs. In particular, the film's extended (370 minute) duration encourages alternative, ambient-inspired models of attention and engagement. A range of emergent design issues and possibilities for future work are discussed.

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Section: Audio Primacy In Audiovisual Relationshipsmentioning

confidence: 99%

Layering the Senses: Exploring Audio Primacy in Multi Sensory Cinema

Dalgleish¹

2021

Reproduced Sound 2021

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“…294 This, we can say, is the basis of Pop Art (a term coined in 1958 by the critic Lawrence Alloway) as Pop Art found its imagery and many of its techniques in the realm of advertising and consumer packaging and pop stars and cinema idols.…”

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confidence: 99%

Immersion Into Noise

Nechvatal¹

2011

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The era of climate change involves the mutation of systems beyond 20th century anthropomorphic models and has stood, until recently, outside representation or address. Understood in a broad and critical sense, climate change concerns material agencies that impact on biomass and energy, erased borders and microbial invention, geological and nanographic time, and extinction events. The possibility of extinction has always been a latent figure in textual production and archives; but the current sense of depletion, decay, mutation and exhaustion calls for new modes of address, new styles of publishing and authoring, and new formats and speeds of distribution. As the pressures and re-alignments of this re-arrangement occur, so must the critical languages and conceptual templates, political premises and definitions of 'life.' There is a particular need to publish in timely fashion experimental monographs that redefine the boundaries of disciplinary fields, rhetorical invasions, the interface of conceptual and scientific languages, and geomorphic and geopolitical interventions. Critical Climate Change is oriented, in this general manner, toward the epistemo-political mutations that correspond to the temporalities of terrestrial mutation. Immersion Into Noise Joseph NechvatalAn imprint of MPublishing -University of Michigan Library, Ann Arbor, 2011 Open Humanities Press is an international, scholar-led open access publishing collective whose mission is to make leading works of contemporary critical thought freely available worldwide. Books published under the Open Humanities Press imprint at MPublishing are produced through a unique partnership between OHP's editorial board and the University of Michigan Library, which provides a library-based managing and production support infrastructure to facilitate scholars to publish leading research in book form. OPEN HUMANITIES PRESS OPEN HUMANITIES PRESS Contents List of Figures 7 Preface 9The Art of Noisy Noologies 13Into Noise: Tabula PrefaceOn a planet that is increasingly technologically linked and globally mediated, how might noises break and re-connect in distinctive and productive ways within practices located in the world of art and thought? This is the question I have set out to explore in Immersion Into Noise. For many people, if anything is representative of the art of noise, it is ambivalence. Ostensibly, everything is permitted in art today-and thus nothing is necessary. As a result, art and entertainment are said to have merged. For me, however, perhaps surprisingly, the denial of this merger and the answer to the question posed above is to be found within the challenge of style.In writing this book I have come, counter-intuitively, to see the style of cultural noise as the necessary (and thus valid) art of today-precisely because it does not cave in to the supposed need for immediately legible, spectacle. Indeed it restores art's responsibility of resistance.Some claim that art, as entertainment-spectacle, participates in the dumbing-down values that have proved...

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Framing the Revolution: Memory and the Medialisation of Crisis in Loznitsa’sMaidanandThe Event

Wijermars

2019

Collapse of Memory - Memory of Collapse

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A Chronicle for Our Time: Sergei Loznitsa's The Blockade (2006)

Cited by 3 publications

References 0 publications

Layering the Senses: Exploring Audio Primacy in Multi Sensory Cinema

Layering the Senses: Exploring Audio Primacy in Multi Sensory Cinema

Immersion Into Noise

Framing the Revolution: Memory and the Medialisation of Crisis in Loznitsa’sMaidanandThe Event

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