Monday, April 23, 2018

EAR MOVIE (DUE WEDS. APRIL 25)

EAR MOVIE. 5 - 10 minutes. Again, DUE THIS WEDS. APRIL 25.
 
1) The story unfolds via dialogue and sound effects (w. very little narration). Again, in the previous podcast the sound effects simply illustrated the narrated story; here, the sound effects are meant to propel the story.

You must use opening music, closing music, one sting, one bridge, one sound effect bed, one musical bed, and at least six isolated sound effects (of those six, you have to record three yourself from real life). 
 
2) Turn your ear movie into a video in which the audio is accompanied by a slideshow of still photos or art (original or found online) that enrich the work without undermining its integrity as an audio narrative. Consider applying various animations: pans, zooms, and transitions.

Post your movie below (or e-mail the link/attachment to alexander.dawson@rutgers.edu ) by class time Weds, April 25.

Wednesday, April 11, 2018

HEAR ME ROAR

King Kong's bellow was supposedly a mix of tiger growl and lion roar played backwards at half speed, the Rancor in Return of the Jedi was a slowed-down chihuahua, and Chewbacca was a stew of badger, bear, and walrus. Mix together at least three sounds (animal or otherwise) to create the shriek/roar/yawp or indecipherable language of a made-up monster/species. Consider slowing the sounds down or playing them backwards.

Post MP3 below (or email it to me as a link/attachment).

Tuesday, April 10, 2018

SOUND STORY

Post MP3 recordings of your original sound below. Or e-mail a link/attachment at alexander.dawson@rutgers.edu.  

Again, a sound story is a narrated story "dynamized" with sound effects and music (it can have a couple lines of dialogue, but should be mostly, if not entirely, narration). Think audio book. The sound effects illustrate the narrative (versus the "ear movie," in which the sound effects propel the narrative).The story need not be "complete" (many podcasts are serialized); indeed, it can be Part 1 of a larger story (and end with a cliffhanger).

Do your best to incorporate: opening & closing music (or bumpers; in a film, this would be title and closing credit music), 1 sting, 1 bridge, at least 4 isolated sounds, 1 bed, 1 non-diegetic sound (either bed or isolated), and at least one sound not announced by the narration.

Recordings should be 5 - 10 min.

Thursday, March 29, 2018

SFX & 1 WORD

Produce a :30 - 2:00 audio story using only sound effects and one word. How many sound effects do you need to paint the picture properly? Post MP3s below (or e-mail them to me).

Friday, March 2, 2018

THE STORY SO FAR

Students MUST post reactions ( minimum 250 words) to the READING/LISTENING linked below. Students are encouraged (but not required) to additionally respond to other student reactions.

1) The Story So Far: Fiction Podcasts take their next step by Amanda Hess: "On one long August day, Eli Horowitz camped out in a cramped studio in Gowanus, Brooklyn, with Oscar Isaac, Catherine Keener, a microphone and a solitary Betta fish named Young Hollywood swimming laps around its little bowl.

Mr. Horowitz was there to direct Ms. Keener and Mr. Isaac as they acted out the story of a strange and intimate relationship between a therapist and an army veteran who come together as part of a secretive — maybe even sinister — government program. Mr. Isaac played the vet, Ms. Keener the therapist.

Young Hollywood served as scenery. The catch: They had to convey all of this exclusively through sound — including the fish. Also, Mr. Horowitz had never directed an actor in his life." Click heading to read the rest of the article. 

2) 11 Fiction Podcasts Worth a Listen by Amanda Hess: "The fiction podcast is having a moment. But modern audio dramatists have been turning out intriguing scripted podcasts for several years, and they’re showing no signs of slowing down. Take a guided tour through the past, present and future of audio drama with these fictional standouts." Click heading to review recommended list, then pick one and listen to an episode. Don't pick one you have to subscribe to (the majority are free).

Wednesday, February 14, 2018

RADIO FREE DEATHSTAR

Students MUST post reactions ( minimum 250 words) to the reading/listening linked below. Students are encouraged (but not required) to additionally respond to other student reactions.

A Brief History of NPR’s Star Wars: In 1981, NPR affiliate station KUSC, based at George Lucas’ alma mater, the University of Southern California, hatched a bold plan to adapt Lucas’ Star Wars for radio.

Easily the most visual film of the past decade, Star Wars as a listening experience seemed like an unlikely idea, but Lucas sold NPR and KUSC the rights to adapt the hit movie for one dollar, and opened the Lucasfilm vaults to the show’s producers: the Star Wars sound effects would be available to them in their raw form, along with every note of John Williams’ music, including selections that had yet to appear on an album.The somewhat unenviable task of translating a visual-effects-heavy blockbuster to the spoken word was given to writer Brian Daley.

Click heading to read the rest of the article.

Click HERE to listen to the first 30 minute episode (featuring the ice planet Hoth and the Wampa attack) or HERE for the final 30 minute episode (featuring the final saber battle between Skywalker & Vader) of The Empire Strikes Back from KUSC's STAR WARS: The Original Radio Drama.