Sonic Scope Journal
@sonic-scope.bsky.social
New Approaches to Audiovisual Culture
A platform for student voices to challenge, energise and diversify engagement with audiovisual media. Goldsmiths Press
https://linktr.ee/sonicscopejournal
A platform for student voices to challenge, energise and diversify engagement with audiovisual media. Goldsmiths Press
https://linktr.ee/sonicscopejournal
Within the audiovisual piece, I examine the mise-en-scène and narrative techniques used in the music videos via means that allow me to illustrate camp sensibility instead of solely explaining it.
Read it now at sonicscope.org.
Read it now at sonicscope.org.
sonicscope.org
February 11, 2025 at 3:03 PM
Within the audiovisual piece, I examine the mise-en-scène and narrative techniques used in the music videos via means that allow me to illustrate camp sensibility instead of solely explaining it.
Read it now at sonicscope.org.
Read it now at sonicscope.org.
This activist, audiovisual approach transcends social norms and creates an abstract hyperreality, satirising and critiquing queerphobic attitudes. This activist aspect of camp is emphasised through an audiovisual part of this study that takes the form of a video essay.
February 11, 2025 at 3:03 PM
This activist, audiovisual approach transcends social norms and creates an abstract hyperreality, satirising and critiquing queerphobic attitudes. This activist aspect of camp is emphasised through an audiovisual part of this study that takes the form of a video essay.
I argue that in a nation grappling with escalating queerphobic rhetoric and discriminatory policies, Kaminski's work uses camp sensibilities to construct a cinematic, Polish queer gaze.
February 11, 2025 at 3:03 PM
I argue that in a nation grappling with escalating queerphobic rhetoric and discriminatory policies, Kaminski's work uses camp sensibilities to construct a cinematic, Polish queer gaze.
Each video was directed by Kaminski himself, and was selected for their enigmatic and non-linear structures. These videos fill a void in Poland's visual representation of queerness.
February 11, 2025 at 3:03 PM
Each video was directed by Kaminski himself, and was selected for their enigmatic and non-linear structures. These videos fill a void in Poland's visual representation of queerness.
The central focus here lies in exploring the aesthetics of queer representation within the realm of audiovisual arts, spotlighting music videos from the singer-songwriter Ralph Kaminski and rapper Miuosh.
February 11, 2025 at 3:03 PM
The central focus here lies in exploring the aesthetics of queer representation within the realm of audiovisual arts, spotlighting music videos from the singer-songwriter Ralph Kaminski and rapper Miuosh.
who claims that concepts of queer identities and models of queer activism are continually shaped and reshaped through the processes of queer globalisation, I attempt to address here the question of how Western frameworks of queerness can be interpreted and adapted within localised settings.
February 11, 2025 at 3:03 PM
who claims that concepts of queer identities and models of queer activism are continually shaped and reshaped through the processes of queer globalisation, I attempt to address here the question of how Western frameworks of queerness can be interpreted and adapted within localised settings.
the cue inspires a reading which resonates with much of the growing scholarship on Portrait and draws new connections between aspects of this enormously rich film.
Read it now at sonicscope.org.
Read it now at sonicscope.org.
sonicscope.org
February 4, 2025 at 9:01 AM
the cue inspires a reading which resonates with much of the growing scholarship on Portrait and draws new connections between aspects of this enormously rich film.
Read it now at sonicscope.org.
Read it now at sonicscope.org.
eventually teasing out a glimmer of optimism in what might seem to be a sombre conclusion. My argument hinges on an ambiguity afforded by “Summer’s” acousmatic nature. Neither unequivocally diegetic nor non-diegetic,
sonicscope.org
February 4, 2025 at 9:01 AM
eventually teasing out a glimmer of optimism in what might seem to be a sombre conclusion. My argument hinges on an ambiguity afforded by “Summer’s” acousmatic nature. Neither unequivocally diegetic nor non-diegetic,
and in this auditorium we witness the first and only time Marianne sees her once-lover after their romance. In this essay, I perform an extended analysis of the film's final five minutes, situating the music in the film's treatment of sound, as well its major themes,
sonicscope.org
February 4, 2025 at 9:01 AM
and in this auditorium we witness the first and only time Marianne sees her once-lover after their romance. In this essay, I perform an extended analysis of the film's final five minutes, situating the music in the film's treatment of sound, as well its major themes,
Years previous, they had fallen in love as Marianne painted Héloïse's betrothal portrait on a secluded island off the coast of Brittany. The women had been separated by the patriarchal powers of 18th-century European society,
sonicscope.org
February 4, 2025 at 9:01 AM
Years previous, they had fallen in love as Marianne painted Héloïse's betrothal portrait on a secluded island off the coast of Brittany. The women had been separated by the patriarchal powers of 18th-century European society,
The Presto finale to Antonio Vivaldi's “Summer” Violin Concerto enters acousmatically while Marianne spies her former lover – Héloïse – across a crowded auditorium.
sonicscope.org
February 4, 2025 at 9:01 AM
The Presto finale to Antonio Vivaldi's “Summer” Violin Concerto enters acousmatically while Marianne spies her former lover – Héloïse – across a crowded auditorium.
Read it now at sonicscope.org.
sonicscope.org
February 3, 2025 at 10:41 AM
Read it now at sonicscope.org.
Ultimately, the essay positions the video hum as more than a technological artefact. It becomes a metaphysical element, aligning early video art with Buddhist and Hindu philosophies of impermanence and oneness, and reminding viewers that sound is as transformative as image in this medium.
sonicscope.org
February 3, 2025 at 10:41 AM
Ultimately, the essay positions the video hum as more than a technological artefact. It becomes a metaphysical element, aligning early video art with Buddhist and Hindu philosophies of impermanence and oneness, and reminding viewers that sound is as transformative as image in this medium.
In the video essay, sound is elevated above image, exemplified by the opening black screen accompanied by an electronic hum. This deliberate focus invites the audience to consider sound as integral to the medium’s reflexive nature.
sonicscope.org
February 3, 2025 at 10:41 AM
In the video essay, sound is elevated above image, exemplified by the opening black screen accompanied by an electronic hum. This deliberate focus invites the audience to consider sound as integral to the medium’s reflexive nature.
The video hum bridges the psychological and technological, offering a sonic force of unity amidst visual transformations.
sonicscope.org
February 3, 2025 at 10:41 AM
The video hum bridges the psychological and technological, offering a sonic force of unity amidst visual transformations.
While their visuals often reflect instability and transformation similar to the Buddhist notion of anattā (not-self), the hum of their videos is a constant and anchoring presence, creating a meditative space akin to the sacred drone of Om.
sonicscope.org
February 3, 2025 at 10:41 AM
While their visuals often reflect instability and transformation similar to the Buddhist notion of anattā (not-self), the hum of their videos is a constant and anchoring presence, creating a meditative space akin to the sacred drone of Om.
Early video art pioneers such as Vito Acconci and Joan Jonas utilised the medium's unique properties of audiovisual feedback to interrogate the fragmented, unstable nature of the self.
sonicscope.org
February 3, 2025 at 10:41 AM
Early video art pioneers such as Vito Acconci and Joan Jonas utilised the medium's unique properties of audiovisual feedback to interrogate the fragmented, unstable nature of the self.
and instead advocate for the acknowledgement of diegetic rupture as capable of underscoring subtext, exacerbating emotional resonances, increasing our attachment to characters, and, somewhat paradoxically, intensifying our immersion within a diegesis.
Read it now at sonicscope.org.
Read it now at sonicscope.org.
sonicscope.org
January 31, 2025 at 11:28 AM
and instead advocate for the acknowledgement of diegetic rupture as capable of underscoring subtext, exacerbating emotional resonances, increasing our attachment to characters, and, somewhat paradoxically, intensifying our immersion within a diegesis.
Read it now at sonicscope.org.
Read it now at sonicscope.org.
I focus on two core principles that can contribute to the disassembling of a diegesis: uniquely stylised directorial voices; and the blurring of diegetic boundaries. I ultimately argue against the prioritisation of immersion when assessing film,
January 31, 2025 at 11:28 AM
I focus on two core principles that can contribute to the disassembling of a diegesis: uniquely stylised directorial voices; and the blurring of diegetic boundaries. I ultimately argue against the prioritisation of immersion when assessing film,
In order to make this argument, I draw upon studies of audiovisual dissonance to assess how such techniques can provoke diegetic rupture and what the implications of these instances are. Following an examination of reflexivity and how immersion can be challenged,
January 31, 2025 at 11:28 AM
In order to make this argument, I draw upon studies of audiovisual dissonance to assess how such techniques can provoke diegetic rupture and what the implications of these instances are. Following an examination of reflexivity and how immersion can be challenged,
this study focuses on how sound and music can elicit what I term ‘diegetic rupture.’ I argue that diegetic rupture occurs when the sound-image hierarchy is subverted, forcing the viewer to recognise the film as a constructed fantasy, thereby seeming to disrupt their immersion within the diegesis.
January 31, 2025 at 11:28 AM
this study focuses on how sound and music can elicit what I term ‘diegetic rupture.’ I argue that diegetic rupture occurs when the sound-image hierarchy is subverted, forcing the viewer to recognise the film as a constructed fantasy, thereby seeming to disrupt their immersion within the diegesis.
Whereas film music is often discussed as a means to influence a viewer’s emotional response, imply geographical and historical settings and generally immerse the viewer within a film’s diegesis whilst remaining subordinate to the image,
January 31, 2025 at 11:28 AM
Whereas film music is often discussed as a means to influence a viewer’s emotional response, imply geographical and historical settings and generally immerse the viewer within a film’s diegesis whilst remaining subordinate to the image,