Abstract
Two 1970s films by the German-Australian experimental film-maker Paul Winkler visually capture a duo of significant Sydney icons, Sydney Harbour Bridge and Bondi Beach, the visuals in each film supported asynchronously with minimal soundtracks. In this article Michel Chion’s (2009) notions of palimpsest (the idea of sound film as silent film overwritten with sound) and porosity (the connections between different structural layers of a film), are examined and used as the basis of an analysis of the deployment of sound in these two films. Dominique Nasta’s focus on psychologically imagined sound (subception) is then explored, with various possible imagined sounds subjectively derived from the Winkler visuals presented. Finally, existing and imagined sounds are discussed in relation to what Alex Gerbaz refers to as Winkler’s ‘fragmented aesthetic’.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
