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Conceiving the rhythms of silence

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From the point of view of a film editor, it is important to consider the details of picture and sound in tandem when editing a film. What is visible and audible in the finished product necessarily obscures the work done to reach that point. However, the archaeology beneath the surface is worth investigating if only to confirm how effective or otherwise the symbiosis has been. I will refer to examples taken from both personal experience and observation of the methodology of others.

Keywords: Joseph Losey; Ken Russell; editing; ellipsis; non-linear; silence; sound; sound editing; track-lay

Document Type: Research Article

DOI: http://dx.doi.org/10.1386/st.1.2.87_1

Affiliations: National Film and Television School.

Publication date: August 18, 2008

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  • The Soundtrack is a multi-disciplinary journal which brings together research in the area of music and sound in relation to film and other moving image media. A complex cultural, technological, industrial and artistic phenomenon, sound-with-moving image is a rich area for analysis, investigation and speculation. We encourage writing that is accessible to audiences from a diversity of intellectual backgrounds and disciplines as well as providing a forum for practitioners. The Soundtrack's aim is to nurture this new and expanding area of academic investigation in dialogue with soundtrack producers of all kinds.
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