AustLit logo
image of person or book cover 5037143133206311517.jpg
Screen cap from promotional trailer
form y separately published work icon Noise single work   film/TV   thriller   crime  
Issue Details: First known date: 2007... 2007 Noise
The material on this page is available to AustLit subscribers. If you are a subscriber or are from a subscribing organisation, please log in to gain full access. To explore options for subscribing to this unique teaching, research, and publishing resource for Australian culture and storytelling, please contact us or find out more.

AbstractHistoryArchive Description

The community reels after a mass murder on a suburban train. A young cop, beset with doubt and afflicted with tinnitus, is pitched into the chaos that follows this tragic event. He struggles to clear the screaming in his head while all around him try to deal with the afterburn of the terrible crime.

(Source: Australian Film Commission website)

Publication Details of Only Known VersionEarliest 2 Known Versions of

Works about this Work

The 100 Best Australian Films of the New Millenium Erin Free , Dov Kornits , Travis Johnson , 2016 single work column
— Appears in: FilmInk , 22 September 2016;
Freeing the Imagination : ‘The Best Movie Is the One in My Head’ Isabelle Delmotte , 2015 single work criticism
— Appears in: Studies in Australasian Cinema , vol. 9 no. 2 2015; (p. 171-186)

'Sonic and visual information bounce off each other in daily and fictional lives; physical perception and imagination are intrinsic in the creation of immersive experiences. In the case of atmospheric cinema sound, for example, individual sensibility and physical relationships to sound and space are central to modelling a narrative’s perceptual and emotional authenticity. Is this experiential process compromised when film-making practice is lead by visual storytelling? I would argue that current and future cinema sound practitioners have the propensity to expand sonic phenomenological experience of creative collaborators and audiences alike. A more generalised application to synergetic creative process could originate within the cinematic industry itself. Of course some film directors are renowned for their holistic and collaborative approach to sound creation. Nevertheless sound professionals’ multisensory imagination should be encouraged, from the onset of their professional careers, with as much diligence as their acquisition of technical expertise. In order to highlight the impact of individual imagination on audio-visual creative collaboration, the author of this article devised a creative process involving the altruistic participation of Australian-based cinema professionals. The readers of this article will be invited to experience part of this specific creative process and audio-visually imagine a scene from the reading of a script.' (Publication summary)

Noise Glenn Dunks , 2012 single work essay
— Appears in: World Film Locations : Melbourne 2012; (p. 114-115)
The Sound of Murder Fenella Kernebone , 2007 single work review
— Appears in: Limelight , May 2007; (p. 64)

— Review of Noise Matt Saville , 2007 single work film/TV
Walk the Line Angus Fontaine , 2007 single work biography
— Appears in: SundayLife , 13 May 2007; (p. 12-14, 17)
No Escape from the Roar of Life Evan Williams , 2007 single work review
— Appears in: The Weekend Australian , 5-6 May 2007; (p. 22)

— Review of Noise Matt Saville , 2007 single work film/TV
Sound Production Doesn't Miss a Beat Jane Freebury , 2007 single work review
— Appears in: The Canberra Times , 5 May 2007; (p. 24)

— Review of Noise Matt Saville , 2007 single work film/TV
Now Hear This Paul Byrnes , 2007 single work review
— Appears in: The Sydney Morning Herald , 5-6 May 2007; (p. 15)

— Review of Noise Matt Saville , 2007 single work film/TV
When the Shooting Stops Genevieve Swart , 2007 single work review
— Appears in: The Sydney Morning Herald , 4 May 2007; (p. 7)

— Review of Noise Matt Saville , 2007 single work film/TV
Silence Resonates in Gripping Yarn Rob Lowing , 2007 single work review
— Appears in: The Sun-Herald , 6 May 2007; (p. 16-17)

— Review of Noise Matt Saville , 2007 single work film/TV
Noise Breaks Through the Silence Damien Woolnough , 2007 single work column
— Appears in: The Advertiser , 28 April 2007; (p. 16-17)
Untitled Clive Hodges , 2007 single work correspondence
— Appears in: The Weekend Australian , 19-20 May 2007; (p. 2)
Walk the Line Angus Fontaine , 2007 single work biography
— Appears in: SundayLife , 13 May 2007; (p. 12-14, 17)
Noise Glenn Dunks , 2012 single work essay
— Appears in: World Film Locations : Melbourne 2012; (p. 114-115)
Freeing the Imagination : ‘The Best Movie Is the One in My Head’ Isabelle Delmotte , 2015 single work criticism
— Appears in: Studies in Australasian Cinema , vol. 9 no. 2 2015; (p. 171-186)

'Sonic and visual information bounce off each other in daily and fictional lives; physical perception and imagination are intrinsic in the creation of immersive experiences. In the case of atmospheric cinema sound, for example, individual sensibility and physical relationships to sound and space are central to modelling a narrative’s perceptual and emotional authenticity. Is this experiential process compromised when film-making practice is lead by visual storytelling? I would argue that current and future cinema sound practitioners have the propensity to expand sonic phenomenological experience of creative collaborators and audiences alike. A more generalised application to synergetic creative process could originate within the cinematic industry itself. Of course some film directors are renowned for their holistic and collaborative approach to sound creation. Nevertheless sound professionals’ multisensory imagination should be encouraged, from the onset of their professional careers, with as much diligence as their acquisition of technical expertise. In order to highlight the impact of individual imagination on audio-visual creative collaboration, the author of this article devised a creative process involving the altruistic participation of Australian-based cinema professionals. The readers of this article will be invited to experience part of this specific creative process and audio-visually imagine a scene from the reading of a script.' (Publication summary)

Last amended 14 Oct 2014 13:47:02
X