With the themed programme Sound Stages, IFFR is devoting special attention to film as a specific event, and in particular to the unique auditory cinematic experience. Music and sound are generally unmissable elements that help really draw us into the film. In fact, sound often has a more profound effect on the imagination than images.
In the words of American film specialist Rick Altman: 'Every film screening is an event'. The visual nature and acoustics of the cinema, the quality of the audio equipment, the smell of the person sitting next to you, or the fumbling going on behind you: every setting is unique and every screening of a film will somehow be different. Every experience is a one-off and makes for a particular memory.
The Sound Stages programme takes this idea and runs with it, leaving the cinema to project moving images for one time only at locations with highly specific auditory properties – for example, in a deserted pop venue, a jazz café or a special church.
Sound Stages offers a range of auditory cinematic experiences, with both nods to history and state-of-the-art expertise, while remaining resolutely contemporary: everything will be live and on location. Sound Stages rediscovers several sound technologies that have evolved alongside cinema but also searches for the collective and unique experience that connects the cinematic experience with live performed music, especially during the festival period.
Signals: Sound Stages will include exceptional film projects in combination with live music, from unplugged solos to symphonic orchestrations, and from laptop tot pop group; installations by the likes of Finnish filmmaker and visual artist Mika Taanila and American video, sound and multimedia artist Tony Cokes and different locations will add their own specific auditory properties. For example, the use of 'sound stages', specific film studios in which sound can be recorded live, and meeting places for various presentations and performances. Sound Stages is compiled by IFFR programmer Edwin Carels.