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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)
Affiliation Notes
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Writing Disability in Australia
Type of disability Tinnitus. Type of character Primary. Point of view Third person.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Noise
2022
single work
essay
— Appears in: Melbourne on Film : Cinema That Defines Our City 2022; -
The 100 Best Australian Films of the New Millenium
2016
single work
column
— Appears in: FilmInk , 22 September 2016; -
Freeing the Imagination : ‘The Best Movie Is the One in My Head’
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)
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Noise
2012
single work
essay
— Appears in: World Film Locations : Melbourne 2012; (p. 114-115) -
The Sound of Murder
2007
single work
review
— Appears in: Limelight , May 2007; (p. 64)
— Review of Noise 2007 single work film/TV
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No Escape from the Roar of Life
2007
single work
review
— Appears in: The Weekend Australian , 5-6 May 2007; (p. 22)
— Review of Noise 2007 single work film/TV -
Sound Production Doesn't Miss a Beat
2007
single work
review
— Appears in: The Canberra Times , 5 May 2007; (p. 24)
— Review of Noise 2007 single work film/TV -
Now Hear This
2007
single work
review
— Appears in: The Sydney Morning Herald , 5-6 May 2007; (p. 15)
— Review of Noise 2007 single work film/TV -
When the Shooting Stops
2007
single work
review
— Appears in: The Sydney Morning Herald , 4 May 2007; (p. 7)
— Review of Noise 2007 single work film/TV -
Silence Resonates in Gripping Yarn
2007
single work
review
— Appears in: The Sun-Herald , 6 May 2007; (p. 16-17)
— Review of Noise 2007 single work film/TV -
Noise Breaks Through the Silence
2007
single work
column
— Appears in: The Advertiser , 28 April 2007; (p. 16-17) -
Untitled
2007
single work
correspondence
— Appears in: The Weekend Australian , 19-20 May 2007; (p. 2) -
Walk the Line
2007
single work
biography
— Appears in: SundayLife , 13 May 2007; (p. 12-14, 17) -
Noise
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’
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)
Awards
- 2007 nominated Film Critics Circle of Australia — Best Original Screenplay
- 2007 winner Film Critics Circle of Australia — Best Film
- 2007 nominated Australian Film Institute Awards — Macquarie Private Wealth Award for Best Screenplay (Original or Adapted)
- 2007 nominated Australian Film Institute Awards — Best Film
- 2007 nominated AWGIE Awards — Film Award — Original
- Urban,