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The art of Randy Thom

 Sound designer (FW35)


An introduction to Daniel Frampton’s book on… Filmosophy

Media Studies is often denigrated as being a useless endeavour. Cambridge University has even marked film studies as being unacceptable as an A level for entry there but at the very same time it is often bemoaned that we don’t know enough about the effects of television and movies on children. A recent multi-authored letter to the Telegraph warned that the second hand world of visual media is having a detrimental effect on their underdeveloped brains, that they cannot adjust to the world of moving images that television goes straight into the brain, as it were, without an assessment or interpretation. But before we can confidently argue or assess the effect of these moving images we must come to understand the affects of moving images, how their forms move us directly, emotionally. In a sense we need philosphies of the moving images before we can have sociologies of the media. The affects of film images are not only being investigated by theorists and philosophers but also by artists and filmmakers. In her recent video work Family History, the artist Gillian Wearing recreates an afternoon talk show set revealing its nature as a brightly coloured idealised home. She has Trisha Goddard interviewing a woman who was on a reality tv show back in the 70s or something.