In a feature, sound design sometimes stands out in an action-packed scene, but in a documentary, it is undoubtedly the most discreet player. Nobody pays any attention to it, but everyone hears it. This is exactly what makes it a powerful tool. Sound design stirs up spectators' emotions and creates a wide variety of moods.
It is seemingly realistic and authentic - but is it really? And does it have to be? Or may sound design deliberately intervene in the overall impact of a documentary? Should it guide along the perception of a scene? Could it even become a narrative level in its own right? If yes, how is such sound design conceptualized? We explore these questions, look at the development of sound design with examples from the history of film and open the way to an artistic and narrative understanding of sound design.
The screening of the documentary leviathan (GB/USA/F 2012) in the Stadtkino Basel is part of the seminar.
Intervenants
Ernst Karel Sounddesigner (sound composition and mix for leviathan, 2012), multidimensional audio artist, Lecturer at the Sensory Ethnography Lab SEL, Harvard University, Cambridge USA
Aldo Gardini Sounddesigner, award-winning author of radio documentaries, Basel
Fred van der Kooij Filmmaker and film historian, Zürich
Animation
Daniel Howald Documentary film maker, producer
Ernst Karel Sounddesigner (sound composition and mix for leviathan, 2012), multidimensional audio artist, Lecturer at the Sensory Ethnography Lab SEL, Harvard University, Cambridge USA
Aldo Gardini Sounddesigner, award-winning author of radio documentaries, Basel
Fred van der Kooij Filmmaker and film historian, Zürich
Animation
Daniel Howald Documentary film maker, producer
