(THIS ARTICLE IS MACHINE TRANSLATED by Google from Norwegian)
In Francis Ford Coppolas The Conversation (1976) interconnection is linked to the camera zoom of the human zone and freedom of man; you think you are at a distance, but in fact you are both seen and heard. The film's opening is an emblem of today's audiovisual surveillance community: from the top of an anonymous building, people are zoomed in on the ground floor that is being eavesdropped and gradually "pulled out" by a large crowd. The camera – like the microphone – can be out of reach and close at the same time.
In addition to this distance between you and the supervisor, there is also another form of impotence: In a movie or video recording, you can rarely know if there is an 100 percent match between what you see and what you hear. The sound can have a completely different source than what the visual gives the impression of. What is called FoleySound – or sync – is just about adding sounds to something visual, such as the sound of footsteps over a recording of people walking. The use of Foley sound is a very common technique in fiction films, since recording desired sounds during recording can be difficult due to the natural soundscape you often operate in. It may also be that you seek a sound effect; Just think of the exaggerated sounds of fists accompanying cinematic fight scenes. Foley sound can also be well hidden. For example, Danish Peter Albrechtsen used lion roar when he sounded a car engine in Day and Night (Simon Staho, 2004).
She suggests some similarity between the control community and the invisible power of modern audiovisual media.
In the 15 minutes long Hacked Circuit director Deborah Stratman helps us see the connection between these two forms of manipulation. She suggests a certain resemblance between the control community and the invisible power of modern audiovisual media – their ability to invisible their closeness, influence and distortion of reality.
versatile. In a circular motion, and in one roof, take Hacked Circuit took us from the street into a Foley studio, and looked out at the street again. In the studio, two technicians are making sounds over a scene in Francis Ford Coppolas The Conversation – Significant enough over a scene where the protagonist checks if his apartment is eavesdropped. One of the technicians is looking for objects to make sounds in a room that looks more like a bombed-out flea market than a studio. The other sits at an advanced mixing desk and alternately plays and freezes the film – which can be seen on various screens around the room. The two soundmen interact elegantly and synchronize sound and image in a very convincing way. Gene Hackmann, The Conversations protagonist, throwing a plank in the floor; spring Foleyworker throws a plank in the floor; the sound mixer says, "Cool."
The street images are accompanied by something disturbing, ambient soundtrack of music, cars, a phone ringing and the hum of a street lamp that doesn't quite work. Inside the studio, however, Stratman turns away from the aggressive modulation of the soundscape and lets us listen to the noise that is actually produced in front of our eyes. Out on the street again we hear the same sounds as last – the difference is that now these more constructed and "sneaked" appear. A point for Stratman is also that the viewer / listener should eventually get distrust of any similar recordings he or she is exposed to.
Hacked Circuit can be seen as an admiring portrait of Foleytechnicians at work, like an underlying one suburbiahorror film, as a structuralist sound film and as an "audio-visual tune" – and it can be seen as a metaphilmatic reflection with political connotations. It can also be seen as a mixture of all of the above. This interpretative and experiential spaciousness generally characterizes Stratman's directorial work. She creates films with very thoughtful, "sculptural" expressions that at the same time have an open, multifaceted form that invites the viewer to active reflection and response. This quality is related to how she uses film to think about and view the world by means that are outside the domain of verbal language. Stratman's films are based on audiovisual, rhythmic and not least haptic qualities – on "bodily intelligence".
Deborah Stratman is one of today's most inventive and interesting filmmakers. Her films open up brand new spaces for recognition of our cultural, technological and political reality. This can be in the form of engaging insights into the lives of others (as in Kings of the Sky from 2004), or there may be critical reflections on value sets, phenomena, and mechanisms that make up the community's devices or devices (Foucault) – as in the brilliant In Order Not to Be Here (2002) and O'er the Land (2009)
In one film she is often both an analytical essayist and poet – but always interested in the private, local and political as well as the sublime. This artistic flexibility allows her films to hold many meanings, and intellectual and emotional qualities that cross traditional categories.
Soundness of sound. In the audio film Hacked Circuit Stratman is interested in "what constitutes half a movie" and how we meet sounds in a less critical way than we encounter pictures. This interest has also been reflected in the multi-artist Stratman's installations and sculptures. In sculpture / architecture Tactical Uses of a Belief in the Unseen she thematizes sound as an important part of the military-industrial complex – how military divisions have used sonic surveillance and camouflage throughout history. We are easily fooled by sound, Stratman believes, because it surrounds and characterizes us in a "360-degree way" – while vision has one direction and is easier to analyze. "When you hear something, you are other in it ": Because of this quality, sound is" as subversive and as well-suited as a control mechanism ".
When should we willingly join the manipulation for the sake of art – and when should we reject the fact because it seduces and limits us?
Hacked Circuit is dedicated to Edward Snowden and the famous sound designer Walter Murch. The latter stands for the audio work in just that The Conversation, but is well known for his work with Coppolas Apocalypse now (1979). This film is not only an example of sound's intensely "involving" and synesthetic ingenuity, but also an implicit theme of sound as a formative force and a means of power. Who remembers the sequence where the Apache helicopters play Wagners Ride of the Valkyries to scare the Vietnamese while attacking a village, a sequence that involves us in the intoxicating horror while thematizing it?
Discipline and liberation. Stratman is very conscious of his own power as a filmmaker – as one who can shape reality into new appearances. She knows that these can be difficult to dissect, and therefore integrates the problem into the form itself. Hacked Circuit is thus not only ambiguous in the aforementioned ways, but as much a self-critical expression that thematizes its own ambiguity.
With the dedication of Snowden, Stratman puts the film in direct contact with a current political reality. Thus a difficult question arises: When should we willingly join the manipulation for the sake of art – and when should we reject faked because it seduces and restricts us?
We should be able to do both – but always remember that technology can give reality one desired shape, and thus used for political and social discipline, for example by keeping information hidden or creating fear. We don't just live in a time of surveillance; we live in a time of screens where the connection between the visible and the audible often lies in the hands of a power outside ourselves.
Hacked Circuit is available for streaming May 27 – June 4 for
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Eidsaa Larsen is a film critic in Ny Tid.
endreeid@gmail.com
