4 February 2016 - EMPAC
On Screen/Sound No. 9

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This year-long film series takes a close look at—and listen to—the way filmmakers have employed the sonic dimension of their form to complement, challenge, and reconsider our experience of the moving image.

Returning for Spring 2016, the On Screen/Sound film series resumes with a pair of films that consider the way that dialogue is dubbed into a film’s soundtrack.

Presented as a filmed lecture about sound and image, Picture and Sound Rushes by Morgan Fisher disassembles the fixed relationship between spoken word and image to expose new relationships that intrigue, discomfort, and amuse. One of the earliest British “talkie” films, Alfred Hitchcock’s Blackmail was originally planned as a silent film. After the production studio jumped at the opportunity to include new sound technologies, the thick-accented lead actress needed her lines “dubbed” in real-time by an offstage speaker. Creating a woozy audio effect that complements the film’s German-expressionist visual influence, Blackmail relentlessly confronts complex issues around assault, murder, and obsession.

Co-curated with Victoria Brooks



Picture and Sound Rushes (1973)
Morgan Fisher

Blackmail (1929)
Alfred Hitchcock