TAILIEUCHUNG - Cinema in the Age of Globalization

Dominique Russell argues that film music currently exists within a changing “soundscape,” whereby “there has been a change in our sound envi- ronment through the proliferation of ‘private sound bubbles, ’ created through compact music players. Headphone technology creates private soundtracks to common images Insulated from room tone and ambient noises, two head- phone wearers become spectators to two very different scenes, depending on what they are listening to.”1 1 Students have become accustomed to recontextu- alizing visual phenomenon by selecting alternative auditory cues to experience privately via iPods, mp3 players and other such devices. As Russell suggests, when the spectator changes the soundtrack that accompanies visual stimulus, the very. | Cinema in the Age of Globalization My first recollection of the film industry in British Columbia dates from 1979 when my friend Gord Darby invited me to attend the Vancouver premier of a film in which he claimed to have played a central role. Gord is 6-foot-io and played college basketball. As he tells it he received a phone call at home one evening from a film producer whose first words were I hear you re tall. Gord was thus recruited to wear the large and cumbersome costume of the monster in the John Frankenheimer horror movie Prophecy which was shooting some scenes in North Vancouver. We laughed all the way through this ridiculous film - until the end that is when Gord s name was excluded from the credits leading us to believe that none of his scenes had made the final cut. I had a similar experience in 1986 when another friend Larry Pynn a reporter with the Vancouver Sun signed on as an extra for the Michael Chapman fantasy Clan of the Cave Bear then filming on Bowen Island. At the film s Vancouver debut it seemed that most of the audience consisted of extras like Larry. To this day Larry still searches for himself on the screen -midway through the film at the edge of the frame of a busy scene in which hundreds of extras adorned in animal skins arrive for a gathering of the clans. I found him as hard to recognize as Gord had been in his monster costume. The credits at least verified Larry s participation. 3 The BC film industry was in those days to me and my friends at least a lark nothing we were prepared to take seriously. Even when as a student at Simon Fraser University I began to study the Canadian film industry during the free-trade debates of the late 1980s I had little regard for what was happening all around me. Filmmaking in British Columbia was not real cinema because the province was little more than a Hollywood back lot and because the films shot in British Columbia were almost always set somewhere else. The province s role seemed no more integral

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