I graduated from the University of Southampton in 2010 and returned to undertake my Masters the following year, which I passed with distinction. Incorporating my background in music technology I developed my interest in film sound which culminated with my MA Dissertation ' The Disparate Synchronicity of Sound and Music in Italian Horror and the Giallo', which focused on approaches to post synchronization in Italian genre cinema.
Since graduating I kept myself busy writing essays/book chapters on the topics of Japanese and Italian cinema (particularly in the areas of music and film sound), which are to be published soon. Following these interests I have returned to Southampton in collaboration with the Modern Languages department from Bristol to embark on an AHRC funded PhD project on the post production techniques of Italian cinema; tentatively titled 'The Sonic Textures of Italian Cinema'.
Research:
My research concerns the employment of sound in Italian cinema from 1958 through to the mid 1970s, with a particular focus on post synchronization. Audio technique in Italian cinema is distinctly unique and yet it is unfortunately still discussed using analytical approaches that were created for completely different production cycles and technology. Whilst there is a great deal of artistry to be found in the implementation of sound in Italian cinema, what I hope to provide is a stronger groundwork by taking the auteur out of the equation and drawing commonalities within the industry as a whole with production methods and technology as the focus.
Utilizing a three tiered methodology I hope to establish a more thorough understanding of the theoretical arguments and technical considerations of Italian film sound and the effects they have on film language and construction. This will include primary research in to production schedules and techniques, a technical analysis aided by digital audio workstations, and a textual analysis with comparisons to films from other countries.
Whilst Italian cinema is the focus of my research, my thesis is to be a comparative piece in hope of laying the groundwork for a more expansive discussion concerning national approaches to film sound. Just as national cinemas have different approaches to aesthetics and narratives emerging from individual trends and the technology available, so too can audio be nationally distinct. By analysing and detailing these distinctions I hope to better contextualise the role of film sound in classifying national styles and its influence on different approaches to film language.
Key facts
Email Craig here