You can’t be a successful filmmaker by relying on instinct and intuition

Vahidullah Mousavi, a lecturer at the University of Radio and Television and the translator of the book “Music and Sound in Experimental Film”, told a Fars News Agency cinema reporter about the latest status of the book: “The initial translation has been completed and the final version will be ready soon, God willing.” Trying to be loyal to the source text, paying attention to the requirements of the target language, and avoiding to complicate the text are some of the challenges facing any translator. One of the reasons for the delay in delivering the text was the need to distance oneself from the original translation, the lack of some examples of films discussed in the book for careful review, and the search for some specialized musical terms used in the text.

He explained: The authors of this book try to answer important questions. Questions such as how does audio empiricism distort the image? What is the role of music in aesthetic environments, different from the environments formed in mainstream film? In the field of experimental film, is it possible to identify some kind of integration or lack thereof in the use of sound and music? Do experimental films have innovative audio margins? Does an avant-garde texture form with the distinctive arrangement of the music in contrast, or with the image? Do these questions give rise to a definition of experimental film?

Commenting on the book’s selection for translation, the translator said: “The authors of this book carefully analyze the audio features in the films of several creative and innovative artists.” One author analyzes Polish avant-garde films, the other analyzes abstract audio margins in Norman McLaren animated films. Other authors relate to the multiple relationships of audio-visual margins, conceptual audio-visual collisions, popular songs in experimental film, the placement of music in experimental educational documentaries, and experimental collage films in the works of Liz Rhodes, Walter Rothman, Stan Berkij, John Smith, Chantal Ackerman. And Julian Brian and others have noticed.

Mousavi added: The idea of ​​finding and translating this book was first proposed by Seyed Javad Mirhashemi, the publishing director of the Iranian Youth Cinema Association. Then, several books were introduced and from among those books, he chose this book, which of course was a good decision, because there is a huge gap in this field.

* You can’t be a successful filmmaker by relying on instinct and intuition

He went on to explain the relationship between image and sound: “If we consider the placement of music in the direction or in opposition to images, the activation of these senses will be more significant.” In the films of the filmmakers discussed in this book, music is often used to promote a kind of Brechtian distancing. The sounds or music used by these filmmakers question the images and, with extreme temporalization or discontinuity, create a gap in the audio-visual and challenge the audience. In almost every chapter of this series, the processes of seeing and hearing the result of this gap have been explored.

He also spoke about the impact of the Association’s supportive approach to “genre” on the diversity of short film productions: Leads between the audience, the artwork, the artist and the investor. On the other hand, although they have genres, paradigms, or conventions, they also provide a variety of alternatives and methods for authors. The notion that genre rules are synonymous with predictable and one-dimensional stereotypes or stereotypes is wrong.

The translator, who has a history of judging at short film studies conferences, also emphasized the role of short film research and the impact of measures such as holding conferences and publishing books in solving problems in this field: You can not be a successful filmmaker just by relying on instinct and intuition. Whether in mainstream cinema or in experimental or non-experimental short films. The same goes for learning techniques without creative thinking and theoretical knowledge. When continuous study and learning have no place in a filmmaker’s daily life, the expectation of making lasting and thought-provoking work is certainly ruled out. By holding workshops, conferences and publishing specialized books, the infrastructure for the production and training of cultural forces can be provided.

According to Fars, “Music and Sound in Experimental Film” is written by Holly Rogers, a senior professor of music at Goldsmiths University in London, and Jeremy Baram, an associate professor of music at the University of Surrey in the United Kingdom.

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