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Sound track
Švarcová, Johana ; BENDOVÁ, Helena (advisor) ; ŠERÝ, Ladislav (referee)
I am interested in the sound track's autonomy within the framework of a film, and in the specific characteristics of a sound track's relation to the missing picture. I am equally interested in sound tracks in movies that are almost devoid of picture: films where the picture retreats and leaves the film space to sound. At present, film is usually understood as an audiovisual medium, with most audiences preferring picture to sound. In other words, in film, the majority views the picture as the foreground and the sound track as the film's background, something that accompanies it. From this perspective, I am interested in what is "hidden" for an average film viewer in the background of the film. In his text The Aesthetics of Failure, Kim Cascone explains the focus on the background in the following words: The basic composition of 'background' is comprised of data we filter out to focus on our immediate surroundings. The data hidden in our perceptual 'blind spot' contains worlds waiting to be explored, if we choose to shift our focus there. A part of my text is an analysis of Walter Ruttmann's film Wochenende, 1930. The text is also partially dedicated to works researching the border of visuality (e.g. Malevich's Black Square).
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