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"Waves of consciousness roll in, roll out, leave some writing, |
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| SOUNDING GLASS |
| Length: | 10 | |
| Year of production: | 2011 | |
| Format: | DigiBeta, BetaSP, MiniDV, Pal or NTSC | |
| Language: | No language | |
| Selected Music by: | Thomas Carnacki | |
| Synopsis: | A man in a forest is subject to a flood of impressions; structurally rhythmic waves of images and sounds give form to his introspection. |
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| This kind of history lies at the edge of vision – it is seen through another’s eyes, observed and gathered around a separate body, felt in waves and pulses through a sense deferred. Winter leaves, the forest floor. (Ben Russell, program notes, Berlin Documentary Forum 2) | ||
| With very few images culled from the flood of footage originally taken during World War II, the filmmaker manages to express the incomprehensible trauma of war as a strong visual experience. With a highly compressed use of sound and image, Sounding Glass creates a visceral impact that can only be achieved by cinematic means. (Jury statement, International Competition, International Short Film Festival Oberhausen) | ||
| The certainty that everything and everyone has a fixed place in history gives way to uncertainty and searching. Constant changes between light and dark set history in motion. Flickering deforms, developing a pull that in turn creates an urgency that doesn’t preclude doubt. (Jury statement, German Competition, International Short Film Festival Oberhausen) | ||
| The power of sound becomes visually transmitted in Sylvia Schedelbauer’s imposing Sounding Glass. The film meditates on the lasting resonances of violence imparted first through a strobe effect, flashing between a shot of trees and blackness. This device has the power to imbue a still image with immense movement, impart an ominous threat onto neutral foliage, and create a mounting sense of tension...(Aily Nash, Brooklyn Rail) | ||
| [Schedelbauer's] unique mode of montage, which follows the basic rules of found-footage jump cut collage but softens the edits with rapid fades, produces a highly unique viewing experience, one that approximates the drift and slippery-sand pacing of oneiric images across the mind's "mystic writing pad."...((Michael Sicinski, Academic Hack) | ||
| Screenings | ||
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| 2012 The Free Screen, TIFF Bell Lightbox, Toronto, Canada | ||
| 2010 Peripheral Vision. Programmed by Ben Russell for the Berlin Documentary Forum 2 | ||
| 2012 Crossroads, San Francisco Cinematheque, USA | ||
| 2012 International Short Film Festival Oberhausen | ||
| 2012 San Francisco International Film Festival, USA | ||
| 2012 Ann Arbor Film Festival, USA | ||
| 2012 Portland International Film Festival, USA | ||
| 2012 ArtsEmerson, Boston, USA | ||
| 2011 Contraband Cinema, Atlanta, USA | ||
| 2011 OAF, Seoul, Korea | ||
| 2011 Views from the Avant Garde, New York Film Festival, USA | ||
| Awards | ||
| 2012 Gus Van Sant Award for Best Experimental Film, Ann Arbor Film Festival | ||
| 2012 Special Mention. International Competition, International Short Film Festival Oberhausen | ||
| 2012 Special Mention. German Competition, International Short Film Festival Oberhausen | ||
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| Brenda Contreras' article on OtherZine | ||