Abstract
Popehelm and To Be Here are short films by Sam Jury with sound and music by the author.
Made in collaboration with experimental writer Sarah Goldstein and the author, Popehelm merges three distinct languages; dystopic cinematic, personal narrative, and an experimental use of voice to create acoustics spaces, both perceptually real and imaginary. Ambient spaces are created having both diegetic and non-diegetic quality to the images. Hybridised vocals sounds are created through convolving one with the acoustic of another. The sound of the narrators are placed in contradictory spaces, often intermingling with the ambience surrounding.
The film imagines a societal decline and aftermath, mapping a journey from vast empty landscape to the intimate detailing of unused objects in abandoned interiors accompanied by the monologues of three women that chart a personal journey from loss to obsession. The texts, soundscape, and filming are shaped together to engender the process of post-traumatic repetition that continues to play out long after the cataclysmic event. Popehelm has screened as part of Disasters of Peace Film Programme (2017/18) at the Whitechapel Gallery, London, 54th Ann Arbor Film Festival, USA and Experiments in Cinema Festival, Albuquerque, USA.
Sam Jury’s film To Be Here was first exhibited as an immersive installation, with an octophonic soundscape by the author, commissioned by the Broad/MSU Art Museum, Michigan, USA under the directorship of Michael Rush. It uses sound captured directly from camera. The work was originally mixed and mastered ‘on-site’, allowing the artists to compensate for a very problematic acoustic, commonly found in galleries. This enlightened approach to sound from the gallery curators allowed for an integrated site/sound/image work. New mixes of the linear version were created for conventional film showings. Jury was awarded the AHRC Research in Film Awards 2018 for To Be Here.
Made in collaboration with experimental writer Sarah Goldstein and the author, Popehelm merges three distinct languages; dystopic cinematic, personal narrative, and an experimental use of voice to create acoustics spaces, both perceptually real and imaginary. Ambient spaces are created having both diegetic and non-diegetic quality to the images. Hybridised vocals sounds are created through convolving one with the acoustic of another. The sound of the narrators are placed in contradictory spaces, often intermingling with the ambience surrounding.
The film imagines a societal decline and aftermath, mapping a journey from vast empty landscape to the intimate detailing of unused objects in abandoned interiors accompanied by the monologues of three women that chart a personal journey from loss to obsession. The texts, soundscape, and filming are shaped together to engender the process of post-traumatic repetition that continues to play out long after the cataclysmic event. Popehelm has screened as part of Disasters of Peace Film Programme (2017/18) at the Whitechapel Gallery, London, 54th Ann Arbor Film Festival, USA and Experiments in Cinema Festival, Albuquerque, USA.
Sam Jury’s film To Be Here was first exhibited as an immersive installation, with an octophonic soundscape by the author, commissioned by the Broad/MSU Art Museum, Michigan, USA under the directorship of Michael Rush. It uses sound captured directly from camera. The work was originally mixed and mastered ‘on-site’, allowing the artists to compensate for a very problematic acoustic, commonly found in galleries. This enlightened approach to sound from the gallery curators allowed for an integrated site/sound/image work. New mixes of the linear version were created for conventional film showings. Jury was awarded the AHRC Research in Film Awards 2018 for To Be Here.
| Original language | English |
|---|---|
| Place of Publication | London, Michigan, Seattle |
| Media of output | Film |
| Publication status | Published - 14 May 2016 |