So, this is embarrassing. I actually did conclude the initial 10-episode run of Let’s Study Horror Games by the end of April. But I forgot to cross-post the video here once I uploaded it to YouTube. And then I made an 11th episode, and realized I still hadn’t announced the 10th one. And then weeks went by, and I fretted about, wondering how I should announce both videos on the blog. All of this is much more worry than it’s worth, so I finally just decided to announce them both in this post.
Episode 10 is an extension of some themes I delved into in this old blog post. (I had originally wanted to include Eternal Darkness: Sanity’s Requiem in that post, but it takes a lot of persistence to get the “save game deletion” sanity effect in that game, and there’s no way to reliably capture it unless you’ve committed yourself to capturing the entire game.) It marks the end of my formal plan for this series: any subsequent videos I release in it will take a more odds-n-ends approach, with no more multi-episode argumentative arcs.
Episode 11 inaugurates the more odds-n-ends phase. It focuses on sound, including musical scores, and includes within it a video version of this short lesson plan segment.
No transcript this time around, as it would be too unwieldy.
Moving right along! This episode adapts some material from this post, but also includes plenty of new material, as well. Script below the jump.
This is just a quick addendum to my music-themed lesson on Alfonso Cuarón’s Gravity (2013) from my Intro to Film course, which I posted earlier. This bit doesn’t have as much to do with synesthesia, which is why I separated it out, but it is something that I incorporated into the same lesson.
Spending one week on sound in an Introduction to Film course can be a daunting task. So much vocabulary, and so many new issues to discuss, with only a class or two to dwell on them. What to do?
I like to take this week to introduce the concept of synesthesia—the “bleeding” of one sense into another that results in sensations in one sensory modality being interpreted as impressions in another. It’s a phenomenon that has been studied from the era of classical Greek philosophy up through modern neuroscience, and it has provided inspiration to artists for nearly as long. For understandable reasons, it was something that was on a lot of filmmaker’s minds during the transition to sound cinema. Turning to this topic allows us to rope in stalwarts of classical film theory such as Eisenstein and Vertov, and to freely intermingle experiments in feature filmmaking with more radical experiments in the avant-garde.
In this particular lesson, I focus on music. If one’s spending two days on sound, this leaves another class for sound effects, if one so desires. Continue reading