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Sunshine On My Shoulders
Get PDFA CD review of I See You Live on Love Street – Music from Laurel Canyon 1967-197
Innovation, Economy, Growth - Fundamental Frames for future economy.
Get PDFInnovation, Economy, Growth - Fundamental frames for future economy describes a number of models on sustainable innovation led economic growth, focused on the need to build resiliant economy with a human core.
It includes a section on sustainable innovation led growth of the firm, and describes approaches to developing sustainable innovation and technology investment strategies for corporates.
The book aslo showcases The Falmouth principles for Real Economy; a set of fundamental principles on which to base transformation in corporate strategy and global economic practice in order to build a real and sustainable innovation led global economy, with a human core.
Outrage, Power, Publishing and Noise
Get PDFBook review of Throbbing Gristle. An Endless Discontent, Ian Trowell (Intellect), Zerox Machine. Punk, Post-Punk and Fanzines in Britain 1976-88, Matthew Worley (Reaktion), Neu Klang. The Definitive History of Krautrock, Christopher Dallach (Faber
Sonic Archeology / Dig Deep
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‘David Lynch Constrained on Dune’.
Get PDFDavid Lynch’s third feature film Dune, a filmic adaptation of Frank Herbert’s sprawling set of science fiction novels, found itself subject to a full gamut of reviews found at the time of its release in 1984 ranging from “raves to scathing condemnation” (Kaleta 1993: 69). Though Newsweek’s David Ansen described the film as towering over exiting science fiction movies, “a dark, spellbinding dream […] richer and stranger than most anything that commercial cinema has to offer” (1984), the influential Roger Ebert had decided after just nine minutes of the film’s running time that the “movie is a real mess, an incomprehensible, ugly, unstructured pointless excursion into the murkier realms of one of the more confusing screenplays of all time” (1984). In academia Vivian Sobchak described the film as a “schizophrenic text” which “plunges fatally into the absolute space of postmodern and breaks down into a heap of fragments (1987: 278-9). As time passed, these dismissive voices found more traction than Dune’s celebrants and the film has subsequently found itself entrenched in a reading of epic failure.
Lynch concretised this vision of his film with his own commentary, frustrated by changes to his vision of the film and a multitude of versions in a film plagued by issues around the age classification, “studio bankruptcy [and] convoluted rights” (Kaleta 1993). He later described himself as having died two times on the film stating that he had; “sold out on that early on, because I didn’t have final cut, and it was a commercial failure” (Sharf 2018). He has referred to the film as a critical moment in determining career, conceding that – in large part – this was the last film he made for “the producers, not for myself” (Corliss 1990: 88). As Matt Armitage notes: “Lynch seems to consider Dune his biggest failure, and rarely talked about it afterwards” (2018). Despite the director’s own dismissal of the film, and his expression of having “zero interest” in watching the Canadian director Denis Villeneuve’s interpretation of Herbert’s novel released in 2021 (Raup 2020), Lynch’s film is indicative of many of the themes that have come to determine Lynchian filmmaking in the forty years since the film’s release. With Villeneuve returning to Herbert’s source material throwing light back onto Lynch’s version, the film is due reconsideration.
This chapter explores how Dune presents an exemplar of the evolving Lynchian universe, but also how this universe can collapse in on itself. The film foreshadows many themes that recurred throughout Lynch’s later work in its focus on the impact of industrialisation and exploitation, of familial conflict, uncertainty, identity and– perhaps most significantly – the search for the mystical unknown, where supernatural shifts between dimensions of time and space fuel a fanaticism that errs toward self-destruction. We argue that this was not entirely invoked by the actions of a studio, executive or a production company, as Lynch has suggested in later interviews, though these no doubt remain important factors. Instead it is some of Lynch’s creative choices, compounded by the constraints of his having retained the integrity of the sprawling source material of Frank Herbert’s novels, and the film’s drive to explain the science of the fiction through exposition and voiceover, where ambiguity and obfuscation better served the director’s form in later work
Marshall, Kingsley. 2024. ‘Can you hear me?” ‘Son sur le scenario’ - the act of writing sound in the script of Mark Jenkin’s Enys Men (2023)’. In The Soundtrack, Special Edition: Screenwriting Sound and Music. Intellect. ISSN: 1751-4193
Get PDFIn the opening scene of the ecosophical folk horror Enys Men, released in cinemas in the US and Europe in early 2023, a woman’s voice emanates from a tabletop VHF radio. The voice is that of The Volunteer, a character whose experience is at the centre of a time slippage story set on a remote island off the coast of Cornwall, UK. A meter needle indicates the volume. “Can you hear me?”, she asks. The needle on the meter freezes. From these first lines of writer/director Mark Jenkin’s feature film screenplay, sound is priviledged.
In the script, sound indicates for the audience the space between the familiar and the unfamiliar, the natural and the unnatural, the normal and the uncanny. In the script, bees buzz and birds make their distinctive call. Generators are described as rumbling and humming. Elsewhere, helicopter rotor blades chop and clocks tick (and, sometimes, they don’t). Each location of the island, and each action of The Volunteer, is distinctive in its sonicity – the phenomenological quality and, more significantly considering the slippages of time that The Volunteer experiences, the temporal nature of sound in cinema. Dripping. Splashing. Breathing. Tremoring. Even the pages of a book turning make a noise in Jenkin’s script. In turn, The Volunteer is shown in the script to respond to each of these sounds. They draw her gaze. She follows them. She seeks out their origins. At one point, she puts her ear to the ground to hear what lies beneath the island itself. She is always listening and we, as readers of the script or as viewers of the film, follow her lead into what she hears. In the cinematic worldbuilding of Enys Men sound is alive - in the script it reverberates, thuds, clanks, and, occasionally, it dies.
Choosing to shoot his last two feature films Bait (2019) and Enys Men (2022) on a hand cranked clockwork Bolex 16mm camera, writer/director Mark Jenkin adds all of his audio after principal photography. The filmmaker is credited as sound designer on Enys Men, and completed the majority of the dialogue, foley, and FX and atmospheres in his small studio during post-production (Jenkin, in Oram 2023). Throughout his work, sound is used not just to advance narrative or enhance emotion but to add atmosphere, a sense of space, place and character. Unusually, in both Bait and Enys Men, the filmmaker also composed the soundtracks.
Dr Kingsley Marshall has worked with Mark Jenkin at Falmouth University for over a decade and composed the score for Jenkin’s short film Hard, Cracked the Wind (2019). Using a conversation with Jenkin as a starting point, this paper will consider cinematic sound design in the wider context of writing film and the actualisation of sound in film itself, examining the very specific impact on Jenkin’s own filmmaking and to better understand the wider significance of his approaches to sound and music the construction of place, space, character and narrative in cinema from script to mix
THE ARC OF THE BODY ACROSS THE SKY
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London Kills
No full textWork as Director of Photography for my ongoing personal development and graduate employment for students.
4 seasons , 40 episodes of a US funded TV drama series. Shown on AcornTV USA, purchased and shown by BBC1 and Amazon Prime 2023/24
As a lecturer in Cinematography across the BA and Practice lead for the MA it is vital that I can teach from a perspective of current industry practice. This practice research enabled me to have direct and current access to current working practices.
I chose to accept a short term contract working for a professional production company, Longstory as Director of Photography for 4 seasons of an American funded (AcornTV.USA) crime series produced in London.
I had previously worked with the producers. Paul Marquess and Donna Wiffen. They had asked me to design a shooting method particular to this series that would allow them to cover with a shooting style that allowed for ‘360 degree’ use of the set.
In essence what this meant was moving away from the accepted convention of covering a scene in single character focus to a method that could cover multiple characters with dialogue in a single recording. In addition the scenes had to be lit in a way that did not require adjustment when shooting into different areas of the set/location.
I had to rethink the traditional methods of TV drama. My director , Craig Pickles, had extensive experience in multicamera live performance. Combining his ability to monitor 3 separate camera feeds I selected three experienced documentary camera operators to work on the project.Their experience in fluid situations and their ability to ‘ find’ a shot undirected meant , with careful positioning, the cameras could record simultaneous action during a given scene. The success of the initial 10 episodes in season 1 led to a recommission for a further 3 series of 10 episodes each.
I have been able to bring this knowledge of a new direct practical experience into my teaching. New lighter, more sensitive cameras have meant faster production turnaround, with that comes lower budgets which can be realised with a similar approach of multiple cameras and a ‘realism’ in the lighting style.
U was able to employ two graduates in the September after their graduation. They were camera department trainees for seasons 0ne and two and have both gone on to continuous employment as a direct result of their roles on this project
Community Camera Workshop and Exhibition.
No full textThe community camera is a walk-in camera, exhibition and workshop experience.
Funded by FEAST and hosted by photography staff and students from Falmouth University. This large scale camera obscura invited participants to play with huge images and tiny camera phones to make unique photographs. Self portraits, group shot and families. In three days we made 150 portraits and printed them as A1 posters. The community kept the pop-up exhibition up for a whole year