Sound design / Supervising Sound Mixing / Music Editing / ADR and voice record / Foley Recording / Installation sound design / Additional score / Sound design / Supervising Sound Mixing / Music Editing / ADR and voice record / Foley Recording / Installation sound design / Additional score / Sound design / Supervising Sound Mixing / Music Editing / ADR and voice record / Foley Recording / Installation sound design / Additional score / Sound design / Supervising Sound Mixing / Music Editing / ADR and voice record / Foley Recording / Installation sound design / Additional score / Sound design / Supervising Sound Mixing / Music Editing / ADR and voice record / Foley Recording / Installation sound design / Additional score / Sound design / Supervising Sound Mixing / Music Editing / ADR and voice record / Foley Recording / Installation sound design / Additional score /
feature length film, set over multiple synced screens in the gallery spaces.
We realised this complex and delicate sound treatment on a customised speaker set up rigged up to simulate the multi screen projection in the gallery. In practice, the films and their soundtracks migrate from screen to screen, sometimes overlapping, and sometimes interacting with each other. This spatial contrapuntal interplay involves the audience in the multi-dimensional telling of this exploded narrative feature film.
We realised this complex and delicate sound treatment on a customised speaker set up rigged up to simulate the multi screen projection in the gallery. In practice, the films and their soundtracks migrate from screen to screen, sometimes overlapping, and sometimes interacting with each other. This spatial contrapuntal interplay involves the audience in the multi-dimensional telling of this exploded narrative feature film.
Supervising Sound Designer and Mixer: Tom Haines
Assisant Sound Editor : Laura Selby
Directors: Brad Butler and Noorafshan Mirza
Music: HaZaVuZu, Turkey.
Additional Music: Tom Haines
Galleries: Delfina London, and Home Manchester
Assisant Sound Editor : Laura Selby
Directors: Brad Butler and Noorafshan Mirza
Music: HaZaVuZu, Turkey.
Additional Music: Tom Haines
Galleries: Delfina London, and Home Manchester
In the gallery, the lights are low, the room made darker by the burgundy wallpaper. An interruptive, sometimes violent white-noise soundscape hangs heavily. In lieu of gallery notes, the viewer is provided with four noirish archetypes: Kaptan, the chief of police; Ağa, the politician; Reis, a right-wing state assassin; and Yenge, the taken woman. The film, loosely premised around a car crash in Turkey in 1996, smudges true events with altered narratives and dreamlike sequences (hallucinatory visions often haunt our protagonists). In the first two chapters, our characters swerve through the night in a black Mercedes, the men partaking in misogynistic banter. After her silence in the first film, Yenge begins to interrupt the male dialogue in an internal voice-over in the second. Her soliloquy about the “Resistant Dead,” murdered by the state, and the violence enacted by her fellow passengers, feels like evidence or oral testimony. There’s a sense of history being authored, as well as its dissent. This chapter culminates with the introduction of the “The Gossip,” named for a chorus of female activists who, pursuing justice, devise a supernatural utopia where the constraints of language and time do not apply. For Mirza and Butler’s characters, the possibility of resistance is commensurate with the imagination. Despite its framing of emancipation and transcendence within a magical realist lens, the chapter suggests the potential for our own world’s revitalization—for wounds to close, and become scars