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Silence is cinema! We are so used to sounds; we're always talked at. Silence is very rare for us for a long duration of time. It makes people very uncomfortable. But what it does, it also forces us to perceive on a much deeper level because we can no longer just be told things..Silence is like gold. It forces the audience to engage more, because they're not being told what to think.

- Nicolas Winding Rein

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Survey for my thesis

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EN: For my thesis I am researching visual storytelling in Films. You are about to watch 7 short scenes and after it I am going to ask you some questions. Don't think too hard about it and just answer whatever comes to mind. Some videos are without sound.

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Taking you behind the scenes and straight to the dub stage for a look into audio post-production for feature films, video game sound design, and original soundtrack composition.

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At the climax of Tuesday's episode of "Only Murders in the Building," titled "The Boy from 6B," Theo (James Caverly), the son of Teddy (Nathan Lane), accidentally pushes his friend Zoe (Olivia Reis) off the roof of the Arconia, finally solving for viewers one murder that's been a focus of the season.

In the seconds before the accident, we know what Zoe and Theo are saying to each other, we feel the intensity of their argument, but we don't hear it. Nor do we hear the thump of Zoe lifeless body hitting the pavement. We are watching the event take place from Theo's perspective, and as a deaf man, he can only see the fatal consequences unfold - he cannot hear the world around him shift forever.

The creative team behind " Only Murders in the Building" decided that they couldn't tell the story of the boy from 6B completely from Theo's perspective - the series' main characters Charles (Steve Martin), Oliver (Martin Short) and Mabel (Selena Gomez) were too central to the plot.

But instead of switching between verbal dialogue and American Sign Language as needed, they decided to make the episode nearly non-verbal.

Insider spoke to Caverly, the Deaf actor who plays Theo; the episode's director Cherien Dabis; writers Stephen Markley and Ben Philippe; and sound supervisor and re-recording mixer Matthew Waters to find out exactly how they pulled off this groundbreaking hour of TV.

The episode doesn't have verbal dialogue - except for one line - but it isn't entirely silent

Sound does enrich the story via an intense score and carefully placed screams and "warped" noises Waters told Insider he sometimes used to make audiences think they could understand dialogue and add intrigue.

But Martin's Charles speaks aloud the only line of dialogue at the end of the episode when he says "We did it," after unlocking Tim Kono's (Julian Cihi) phone to try and get more information about who killed him.

"Framing the entire episode in the perspective of a Deaf person is a subversive act," Caverly told Insider in an interview conducted via email per his request. "It forces the audience to listen closely, but with their eyes instead of ears."

Caverly said to prepare to play the part of a man who accidentally kills the woman he's "head over heels in love" with, he spent a lot of time "hiding myself away in a dark room for hours with nobody around and imagining a scenario where I accidentally killed somebody I fell in love with."

He called his performance "an unleashing" of all of the emotions he had purposefully built up, and called the experience of filming "cathartic," especially when combined with all of the emotions he was naturally feeling because of the global pandemic.

The episode's director used clever camera shots to ensure it was authentic to the deaf experience

On set, he worked closely with Dabis to help her tell Theo's story as subjectively as possible. Caverly said that after their conversations, Dabis bought lenses for her camera that would allow her to film more "tight and intimate" shots.

"Doing so lends power to the Deaf observer, one who will detect things with their eyes before hearing people do," he explained.

Without such deliberate camera work, Caverly knew that watching the episode would be uneventful for the deaf viewer. It would be like watching any other episode of television.

Dabis knew this episode would be a challenge. But to make it authentic to the deaf experience, she had to get creative with her shots. She also had to find novel ways to place actors so that Theo could see their faces from an angle that felt "organic" without having the hearing actors look into the camera.

"It was all about looking for places, for things to shoot behind and for places for Theo to hide and watch people," she said, explaining that she learned that lip reading is only about 30 percent successful and that deaf people rely on context more than anything to read lips.

Theo's scenes, which was also shot with a "noir aesthetic" in mind, was comprised of "a lot of wide-angle closeups to really show his distress over what was happening to him and around him," Dabis added, so the audience could clearly see emotion we weren't hearing.

Caverly worked with Dabis to ensure that in the scene where he discovers Oliver and Mabel hiding in the mortuary, his character is tipped off by a visual cue rather than "a feeling" that "could be misinterpreted as hearing something," the actor said.

Writers Markley and Philippe didn't shy away from creating a deaf killer intentionally

The episode's writers, Stephen Markley and Ben Philippe, told Insider that there was a lot of discussion in the writer's room about writing a deaf grave robber, who is also a killer.

Philippe noted that when writing marginalized characters, one question always comes up: "Do they only have to be the exceptional minority presence in a corner that's being great all the time, or can they have the same depth and layers that other characters have?"

"Not touching the stove is not the answer," he added, meaning he'd rather go for it and write what others might think is crossing the line.

Markley was clear, however, that Theo isn't "this murdering psychopath," who's looking for someone to kill. Zoe's death is just "the confluence of some terrible circumstances" that "could have happened to anybody," he said.

Caverly says he's now ready for more roles that don't center heavily on his deafness

Caverly's experience shooting " The Boy from 6B" has given him "a boost of confidence" when it comes to both his craft and his role as an advocate for the way the deaf experience is portrayed onscreen.

He's already turned down an audition since filming the episode because he "felt the writing fixated on the loss of their hearing instead of elevating the plot outside of that framework."

The actor is steadfast in his assertion that "true inclusion would mean more disabled people in the writing room, behind the camera, and on the production team."

Hollywood, Caverly added, needs to "dismantle" the "tired portrayal of disabled characters on TV" by including more disabled talent in front of and behind the screen.

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Inside the making of an 'Only Murders in the Building' episode with only one line of dialogue - and why Deaf star James Caverly wants to 'dismantle' the 'tired portrayal of disabled characters on TV'

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At the climax of Tuesday's episode of "Only Murders in the Building," titled "The Boy from 6B," Theo (James Caverly), the son of Teddy (Nathan Lane), accidentally pushes his friend Zoe (Olivia Reis) off the roof of the Arconia, finally solving for viewers one murder that's been a focus of the season.

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Desk based
Practice Led
Survey

Dogme 95

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Known by a variety of terms, practice-led research is a conceptual framework that allows a researcher to incorporate their creative practice, creative methods and creative output into the research design and as a part of the research output.

Smith and Dean note that practice-led research arises out of two related ideas. Firstly, "that creative work in itself is a form of research and generates detectable research outputs" ( 2009, p5). The product of creative work itself contributes to the outcomes of a research process and contributes to the answer of a research question. Secondly, "creative practice -- the training and specialised knowledge that creative practitioners have and the processes they engage in when they are making art -- can lead to specialised research insights which can then be generalised and written up as research" ( 2009, p5). Smith and Dean's point here is that the content and processes of a creative practice generate knowledge and innovations that are different to, but complementary with, other research styles and methods. Practice-led research projects are undertaken across all creative disciplines and, as a result, the approach is very flexible in its implementation able to incorporate a variety of methodologies and methods within its bounds.

Most commonly, a practice-led research project consists of two components: a creative output and a text component, commonly referred to as an . The two components are not independent, but interact and work together to address the research question. The ECU guidelines for examiners states that the practice-led approach to research is

... based upon the perspective that creative art practices are alternative forms of knowledge embedded in investigation processes and methodologies of the various disciplines of performance ... the visual and audio arts, design and creative writing ("Guidelines and Examination Report for Examination of Doctor of Philosophy theses in creative research disciplines," para. 1).

A helpful way to understand this is to think of practice-led research as an approach that allows you to incorporate your creative practices into the research, legitimises the knowledge they reveal and endorses the methodologies, methods and research tools that are characteristic of your discipline.

Additional advice and guidance on the nature and implementation of a practice-led research project may be sought from your supervisors and from the research consultants.

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LibGuides: Research Methodologies for the Creative Arts & Humanities: Practice-based & practice-led research

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LibGuides: Research Methodologies for the Creative Arts & Humanities: Practice-based & practice-led research

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Part 4 of a 5-Part Thriller.

Source: pixabay.com / geralt

(Part 1)

(Part 2)

(Part 3)

The dramatic narrative arc and its emotional impact is not a recent discovery. It was discovered when primitive man became modern man hundreds…

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We know about attention and the narrative arc. Why, then, is it so difficult to create a good story?

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I learned that people will forget what you said, people will forget what you did, but people will never forget how you made them feel— Maya Angelou

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I learned that people will forget what you said, people will forget what you did, but people will never forget how you made them feel— Maya Angelou

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El Único Superviviente - Quiet Earth  (1985)

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What if you can't hear someone the demons haunting you

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Two brothers (Deaf and one hearing) try to survive a post apocalyptic world with a little girl

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German Expressionist Cinema by Roberts

Le Rough Guide Du Film Noir by Ballinger & Graydon

Visual Storytelling: How to Speak to Your Audience Without Saying a Word by Morgan Sandler

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On a nice date. The guy forgets his wallet at home to not embarrass  himself infront his date, he text his roommate (Who is deaf) if he can bring it. Which makes for a lot of silly moments on the date of a guy trying to stretch the date. and A deaf person trying to rush to the restaurant.

For this film the Hearing guy would be mostly set in a Charlie Chaplin kind of slapstick humor. And the Hearing guy in modern day filmmaking. To contrast one trying to hide something and doesn't wanna talk about what is happening and the other one trying to get around quickly in a world that has difficulty understanding him.

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1. Table of content
2. Introduction :  Little personal and academic.
3. Chapter: Silent movies
4. Chapter: Nicolas Winding Rein
5. Chapter: Animation
6. Chapter: Deaf People in movies
7. Chapter: Survey
8. Chapter: Production
9. Chapter: Movie showing and Survey
10. Closing word
11. Bibliography

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Still to Watch:
Song from the Second Floor

(Sånger från andra våningen)

Sunrise: A song of Two Humans
The Tribe (Plemya)
Breaking the Waves

Watched:

Coda
Quiet Place
Wall-e
Hush
Sound of Metal
Drive
Silent Voice (Koe No Katachi)
Only God Forgives
The Last Laugh (Der Letzte Mann)
Metropolis
Shogun Assassin

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A man is sitting dressed up in a nice suit all alone in a 'waiting room'. Different objects in the room make him reminisce  about growing up with his deaf brother. The mood in the room is hard to read. Until near the end the deaf brother appears in the room also all dressed up. They exit the room and we see that they are dressed up for a wedding, the deaf brother is getting married.

Most of the memories are going to one based on my youth and growing up with my brother!