12 May 2016 - EMPAC
On Screen/Sound No. 15

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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.

The final On Screen/Sound program of the spring season presents four films with sonic and visual elements constructed through complex tracking shots.

Michel Gondry’s music video Sugar Water (1996) uses a split screen to present two tracking shots that create opposing timescales synthesized by Cibo Matto’s pop music. In a similar way, The Propeller Group’s camera parades through the carnivalesque multi-day funerary performances of South Vietnam in The Living Need Light, The Dead Need Music(2014).

In Miguel Angel Rios’ Untitled (The Ghost of Modernity) (2012) a CG-rendered cube floats across a desert landscape, while a spare Cageian composition punctuates this modernist exploration of silence and space. Shot with an automated camera that could be controlled to move in 360 degrees, Michael Snow’s La Région Centrale documents the landscape of northern Quebec and was scored using the sine waves and electronic pulses of the technical camera apparatus itself.

Co-curated with Victoria Brooks


La Région Centrale (1971)
Michael Snow

Untitled (The Ghost of Modernity) (2012)
Miguel Angel Rios / Music: John Cage