Sound calligraphies. Different ways of representing the world through sound in documentary and fiction films Around Sound II
Amanda Villavieja
3rd - 4th october | 10:00 - 14:00 h
40€ (20€ students) | Registration form at the end of this page
Seats: 20
Sound recording in documentary cinema
As a sound engineer, when you put on headphones for the first time, you are surprised at how many sounds a microphone can pick up. The world is contained in there. Like a blank piece of paper, it includes everything and nothing at the same time.
In the direct sound recording, a staging of the sound is then inscribed: an exercise in listening, selecting and positioning in space, understood as a place from which to listen.
What calligraphy or sound scripts do we establish then between us and the world that surrounds us and that we want to tell? What sound gestures do we print in the shooting phase and what others in the editing phase?
The objective of the workshop is to propose, through the analysis and commentary on fragments of films and texts, different perspectives on sound staging and its props that help us to ask ourselves about the use of sound in them and their ability to creatively count on sound.
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Amanda Villavieja
Sound Engineer. She specialises in documentaries and fiction films. Some of her works include En construcción, Guest, En la ciudad de Sylvia and La academia de las musas, by José Luis Guerín; La leyenda del tiempo, Los pasos dobles, Los condenados, La próxima piel and Entre dos aguas, by Isaki Lacuesta; El cielo gira and Mercado de futuros, by Mercedes Álvarez; Tierra negra and El foso, by Ricardo Íscar, Mimosas and Aquello que arde, by Oliver Laxe, Nadar, and Volar, by Carla Subirana, Penélope, by Eva Vila, Les Unwanted de Europa, by Fabrizio Ferraro, La estrella errante, by Alberto Gracia, Staff only, by Neus Ballús, Viaje al cuarto de una madre, by Celia Rico and La virgen de agosto, by Jonás Trueba. She also teaches sound classes at the Pompeu Fabra University.