3,751 research outputs found
Listen to Nice
No full textIn describing Humphrey Jennings’ wartime documentary propaganda film, 'Listen to Britain' (1942), a film with an overtly poetic sensibility and dominantly musical soundtrack, John Corner asserts that ‘through listening to
Britain, we are enabled to properly look at it'. This idea of sound leading our attention to the images has underpinned much of the collaborative
work between composer and sound designer, Geoffrey Cox, and documentary filmmaker, Keith Marley. It is in this context that the article will analyse an extract of A Film About Nice (Marley and Cox 2010), a contemporary
re-imagining of Jean Vigo’s silent documentary, 'A propos de Nice' (1930). Reference will be made throughout to the historical context, and the filmic and theoretical influences that have informed the way music and creative sound design have been used to place emphasis on hearing a place, as much as seeing it
Book review: El Sistema: orchestrating Venezuela’s youth, by Geoffrey Baker
No full textBook review of: El Sistema: orchestrating Venezuela’s youth, by Geoffrey Baker.
New York, NY: Oxford University Press, 2014; ISBN: 9780199341559
($35.00)Publisher PD
Photograph - Cox. Geoffrey
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete. Visit this record in UMA's new catalogue at: https://archives.library.unimelb.edu.au/nodes/view/289332Cox. Geoffrey306033
Item: [2003.0003.06393] "Photograph - Cox. Geoffrey
Weave Me a Rainbow ‘The march, the march of colour and pattern’:Music and cinematography at the service of the creative promotion of the 1960s Scottish woollen industry
No full text'Connecting hearing to viewing and knowing to feeling': Sound as evocation in non-fiction film with particular reference to No Escape (Cox, 2009)’
No full textThis article investigates the early historical context of the relationship between sound and image in film and how contemporary theorists have drawn on this to suggest new creative aesthetic modes. The practical realization of such suggestions will be illustrated primarily by an analysis of my own film, No Escape (2009), which explores the combination of live piano music, diegetic sound and image. It draws on my collaborative work as sound designer and composer with filmmaker, Keith Marley, in which we have attempted to challenge the perceived relationship between sound and image in documentary film (e.g. Cider Makers, Keith Marley, 2007 and A Film About Nice, Keith Marley and Geoffrey Cox, 2010), a relationship seen as stratified or hierarchical in the sense that sound is often treated by filmmakers as subordinate to image in a genre which is dominated by what Bill Nichols calls a ‘discourse of sobriety’ (Nicholls 1991: 35)
'Progress Music': Daphne Oram, Geoffrey Jones and 'Trinidad and Tobago'
No full textThis paper explores the soundtrack work of the British composer Daphne Oram for Geoffrey Jones’ 1964 documentary film, Trinidad and Tobago, commissioned by British Petroleum. The paper details the context surrounding Jones and Oram’s work together; the influence of Dziga Vertov, Norman McLaren and Len Lye on their practices, the relationship between sound, film and narrative present in the film, and the use of music within short film documentaries in the aftermath of the Second World War. The notion of ‘authenticity’ within commercially funded documentaries of the era is discussed, with reference to the British Transport Film Unit and the Shell Film Unit, and the creation of Trinidad and Tobago is explored in depth as a case study.
Throughout the writing, extensive reference is made to unpublished materials from the Daphne Oram archive, situated at Goldsmiths, University of London. Starting with the initial discovery of a set of dusty slide photographs in 2013, the text emanates from the archival material outwards, exploring early unpublished writings on the relationship between sound and film made by Oram whilst working at the B.B.C, and relating these to interviews with Jones, and the later documentary works they made together (particularly Snow, 1963, and Rail 1967).
This text is accompanied by a soundscape of tape recordings made by Daphne Oram during her trip to Trinidad and Tobago in 1964.This material provides a unique insight into Oram’s creative process and provides a parallel documentation to the film itself. The soundscape is referred to throughout the text, and can be listened to alongside reading, or as a separate contextual piece
Cox (Β.). Vanden tocht in Vlaenderen. De logistiek van Nieuwpoort 1600.
No full textParker Geoffrey. Cox (Β.). Vanden tocht in Vlaenderen. De logistiek van Nieuwpoort 1600. . In: Revue belge de philologie et d'histoire, tome 67, fasc. 4, 1989. Histoire - Geschiedenis. pp. 865-866
Deconstructing voices at NAWE
No full textDeconstructing Voices: a poetry and film collaboration at Liverpool John Moores University – Alicia Stubbersfield, Keith Marley, Lina Valutyte, Ian Walker, and Geoffrey Cox (University of Huddersfield). Deconstructing Voices is a multi-media performance of poetry, images and sound which are interconnected and improvised so the result is different every time it is performed. It is the result of a collaboration between Keith Marley, experimental documentary maker and Senior Lecturer in Film, and Alicia Stubbersfield, poet and Senior Lecturer in Creative Writing, together with three poetry students. This exciting partnership has transformed the poets’ experience of their own writing and, although the process is experimental, poetry on the page is the basis for each event.
A short film was created by Geoffrey Cox and Keith Marley for the conference based on and featuring Lina Valutyte's poem 'There'
Cox (Β.). Vanden tocht in Vlaenderen. De logistiek van Nieuwpoort 1600.
No full textParker Geoffrey. Cox (Β.). Vanden tocht in Vlaenderen. De logistiek van Nieuwpoort 1600. . In: Revue belge de philologie et d'histoire, tome 67, fasc. 4, 1989. Histoire - Geschiedenis. pp. 865-866
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