Ioannis Tsirkas’ sound design for the two minutes length short film which he created using parts of Seouls (d.Thierry Knauff and Olivier Smolders, Belgium, 1989) is not just in harmony with the obvious requirements of the moving images, but also gives him a cause for reflection on them. What we see is some autistic children in the mostly closeted chambers of an asylum using their bodies and their environment to create sounds. Tsirkas seems to perceive their actions as a desperate effort against stagnation, silence, the absence of time and childhood, against death at last.
    Therefore he chooses to accompany their images with repeated, monotonous and even disturbing sounds. When the image doesn’t give reasons or call for sound action, he leaves the silence of an interior space as the only ground. In the final scenes he doesn’t hesitate to break this by keeping the sound of the previous ones intervening to the possible narrative [1]. The absence of dramatic evolution reflects to the absence of the evolution of the accompaniment of sounds. Tsirkas seems to be interested in the expression of the primary emotions of the characters refusing any proximity between them and the audience. Nothing seems to reach a completeness, but the message is not indispensably pessimistic.
    It is worth mentioning that although we can hear the sounds that they force we do not listen to their breaths [2]. This may sets up a claim of a possible consideration of the children as manes who through the causing of sounds try to implement the phenomenon of their presence, to live or just to be. Tsirkas through a conscious minimalistic way exalts their sounds as the third dimension of their images which connects them with the passiveness of the audience.


[1] This is happening again (in the scene with the music toy and the next one with the kid who plays with it) in a more remarkable way where he uses continuous sound to amalgamate two separate in time events.
[2] Although this could be justified by the text of the images.

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