Subject: Fwd: THE SCHOOL OF SOUND Programme 2004-05
From: Kevin Austin (email@example.com)
Date: Sun Oct 17 2004 - 12:50:55 EDT
Date: Sun, 17 Oct 2004 11:32:54 -0400 (EDT)
Subject: Programme 2004-05
THE SCHOOL OF SOUND announces two events for 2004 and 2005
The School of Sound at Brief Encounters International Short Film Festival:
18 &19 November 2004
The 6th School of Sound symposium, London:
30 March - 2 April 2005
Bookings now being accepted for both programmes.
The 6th School of Sound symposium will be held in London from 30
March - 2 April 2005. Full programme details will be announced in
Autumn 2004. For further information about the School of Sound or
to join our mailing list, email firstname.lastname@example.org or visit
The School of Sound is a four-day symposium exploring the creative
aspects of sound in media - particularly with the moving image. It
is aimed at everyone working with sound in the creative industries.
Each event attracts
approximately 250 people coming from around the world to hear
practitioners and artists working at the highest creative levels in
media and the arts. Our audience includes directors and producers
working in film, television, theatre, radio
and multimedia; editors, sound recordists, sound designers, mixers,
composers, writers, architects, poets - just about anyone concerned
Since its inception in 1998, the School of Sound has raised the profile of
sound in audio-visual media through this unequalled series of
integrate practice with theory, and art with entertainment. For all those who
work in film, video, radio, theatre, commercials or multimedia, this event
provides the perfect complement to your technical expertise.
The School of Sound is not a commercial training course nor an academic
conference. You will not learn equipment or software. It will,
however, teach you
new perspectives on the work you do and the creative processes of
contemporary sound production.
Proposed speakers for 2005:
One of America's most creative and stylish film editors, known for her work
on The Hustler, Bonnie and Clyde, Serpico, Dog Day Afternoon and Reds.
Hollywood composer and Sound Designer (Star Trek; 24).
Composer, filmmaker and writer who has written some of the most significant
works on the use of sound in film ("Audio-Vision: Sound on Screen", "The Voice
Canadian composer who has worked with Atom Egoyan (The Adjuster, Exotica, The
Sweet Hereafter), with Ang Lee (The Ice Storm, Ride With the Devil) and Mira
Nair (Monsoon Wedding, Vanity Fair).
Sound artist and research scientist, creator of installations for real and
virtual spaces and designer of immersive media systems at Fraunhofer Institute
for Media Communication in Bonn.
Theatre director, composer and radio director whose works have been staged
around the world. Of his 2002 staging of Hashirigaki at the Barbican, the
Guardian wrote, "Goebbels brings together Gertrude Stein and the
Beach Boys in a
magical synthesis that, like all the greatest art, is utterly unclassifiable."
Researcher and inventor of cinema sound systems; created Lucasfilm's THX
sound system and currently teaches at the University of Southern
of Cinema and Television; author of "Sound for Film and Television".
Features sound designer whose credits include Panic Room, Fight Club and
Se7en - all with David Fincher - and Spike Jonze's Being John Malkovich.
David Ossman and Judith Walcutt
Leading radio producers in the US, David was a founding member of the
Firesign Theatre and Judith has been an award-winning writer and
director in radio
and television. Together they run Otherworld Media, producing audio
and multi-cable broadcasting.
British novelist and filmmaker, his film/video work includes Radio On,
Chinese Boxes, The Cardinal and the Corpse and The Falconer.
Prize-winning producer of radio documentaries at features at the BBC since
1968, Plowright's presentation is titled, "Filling the Space - sound, depth and
meaning in the art of radio".
Potter's work as an artist has embraced dance, performance, theatre, music
and film. Her films include The Gold Diggers, Orlando, The Tango
Lesson and Yes.
American features film editor and collaborator with Martin Scorsese since
the 1970s (Woodstock, Raging Bull, Goodfellas, Gangs of New York, The Aviator,
Brief Encounters International Short Film Festival
Thursday-Friday, 18-19 November 2004
The School of Sound presents six masterclasses with leading practitioners and
artists from British film and television
Thursday, 18 November
Head of Post Production Sound at Shepperton Studios, O'Donoghue's mixing
credits include Love Actually, Gosford Park, Shakespeare in Love and The End of
the Affair. He unveils the art of mixing a soundtrack and how that
relates to a
A features sound editor and formerly at Electronic Arts (Harry Potter
Prisoner of Azkaban video game), Alison Bown has worked in the fields of music
technology, percussion and media work with young people and excluded
She demonstrates the subjectivity of sound and how its purpose shifts when
married to picture.
Pangborn is a sound designer, composer and singer who has crafted soundtracks
for a variety of genres, working with directors Penny Woolcock (The Death of
Klinghoffer), Beeban Kidron, Simon Pummell and Brian Percival (Pleasureland).
She deconstructs music for shorts, animation and dance films - forms often
involving experimental narratives - where the place of music becomes
in its role to connect the audience to a familiar reality.
Friday, 19 November
Watson is a sound recordist with a particular and passionate interest in
recording the wildlife sounds of animals, habitats and atmospheres
from around the
world. His presentation combines his wildlife recording (including BBC's The
Life of Birds, BAFTA Award for Best Factual Sound) with his CD productions
for Touch (Outside the Circle of Fire, Stepping Into the Dark, Weather Report),
emphasising the aural awareness needed for recording and editing sound.
WHY MUSIC? Does contemporary urban music (Hip Hop, Drum 'n' Bass, et al)
play the same role as traditional film music when used in scores? What is the
relation between music and other components of the track? Do
directors know how
music works? Do composers know how film works? A panel of composers discuss
the place of music within the modern film soundtrack. Panellists: Stephen
Deutsch, Head of Post-Production at Bournemouth University and Senior Tutor for
Music at the National Film and Television School; composer Paul Gladstone
Reid, known for his work with Issac Julien and currently composing a "Hollywood
Hip-Hop Opera Musical"; and Annabelle Pangborn.
One of Britain's foremost documentary directors since the late 1960s, Grigsby
was honoured in a recent NFT retrospective. Drawing parallels between the
use of sound in fiction and documentary, he explores how sound and music inform
his particular style of documentary filmmaking.
Visit the Brief Encounters website at www.brief-encounters.org.uk for exact
times and registration details.
SOUNDSCAPE: The School of Sound Lectures 1998-2001
is now available from the Wallflower Press.
Contact the Offstage Bookshop, email@example.com, for details.
Please email firstname.lastname@example.org if you wish to be removed from our
We apologise for double mailings.
Programmes are subject to change.
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