I experienced Kogonada’s Sounds of Aronofsky in several different manners. I say “experienced” because after watching the minute long supercut of rapidly interspersed close-ups and surprisingly self-contained soundbites assembled from the films of Darren Aronofsky, I decided to listen to the video without the accompanying visuals. Kogonada does not provide any voiceover, and the closest thing to diegetic dialogue in the compilation of Aronofsky clips is the moan of a drug-user as they “shoot-up” some heroin. Despite this lack of words, listening to the video and temporarily ignoring the visuals is not without merit. In fact, I would argue that this approach is the most obvious way to experience Kogonada’s thesis surrounding this video. On his website, Kogonada provides the following caption for the Sounds of Aronofsky – “Sound in film is often complimentary. Rarely does it suggest an aesthetic of its own. The punctuating, rhythmic soundscapes of Aronofsky are the exception. They stay with you long after the film.” This assertion is most evident when removed from the visuals. With no images to indicate their onscreen sources, certain audio clips become unidentifiable. It is impossible to tell what is causing an intense bubbling or a metallic whoosh. The pounding of keys on a typewriter, and the engine of a passing truck are more easily recognized, yet they are quickly lost in the hasty cacophony turned soundtrack. The sounds used by Aronofsky create a score to accompany his depictions of life. Shots of drug use are pervasive in the video, and the accompanying sounds dominate the expressions with tingling effect. The metallic whoosh can be traced back to a shot of cocaine landing upon a table, while the intense bubbling stems from a shot of liquid being compressed inside a syringe. Neither of these shots provide an accurate reflection of the accompanying sound. Instead, the sounds define the images. They enhance and augment the onscreen action, a notion which is highlighted by Kogonada through this supercut or “composition” for rhythmic and musical effect.
Sounds of Aronofsky
I experienced Kogonada’s Sounds of Aronofsky in several different manners. I say “experienced” because after watching the minute long supercut of rapidly interspersed close-ups and surprisingly self-contained soundbites assembled from the films of Darren Aronofsky, I decided to listen to the video without the accompanying visuals. Kogonada does not provide any voiceover, and the closest thing to diegetic dialogue in the compilation of Aronofsky clips is the moan of a drug-user as they “shoot-up” some heroin. Despite this lack of words, listening to the video and temporarily ignoring the visuals is not without merit. In fact, I would argue that this approach is the most obvious way to experience Kogonada’s thesis surrounding this video. On his website, Kogonada provides the following caption for the Sounds of Aronofsky – “Sound in film is often complimentary. Rarely does it suggest an aesthetic of its own. The punctuating, rhythmic soundscapes of Aronofsky are the exception. They stay with you long after the film.” This assertion is most evident when removed from the visuals. With no images to indicate their onscreen sources, certain audio clips become unidentifiable. It is impossible to tell what is causing an intense bubbling or a metallic whoosh. The pounding of keys on a typewriter, and the engine of a passing truck are more easily recognized, yet they are quickly lost in the hasty cacophony turned soundtrack. The sounds used by Aronofsky create a score to accompany his depictions of life. Shots of drug use are pervasive in the video, and the accompanying sounds dominate the expressions with tingling effect. The metallic whoosh can be traced back to a shot of cocaine landing upon a table, while the intense bubbling stems from a shot of liquid being compressed inside a syringe. Neither of these shots provide an accurate reflection of the accompanying sound. Instead, the sounds define the images. They enhance and augment the onscreen action, a notion which is highlighted by Kogonada through this supercut or “composition” for rhythmic and musical effect.
Video Commentaries
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