On Bela Belazs

Bela Balazs

Bela Balazs’ piece on sound gives a great breakdown of the different aspects of sound in cinema and their sole importance. Because the cinematic experience is meant to be so immersive for the viewer, the work that goes into creating a realistic soundscape is often overlooked. Balazs points out that things as small as silence can play a key role in expression and realism in films. Silence gives birth to the importance of sound in the same way a fade from black or white gives images their vibrant qualities. The key difference between images and sounds come with the need for sound to be layered. An isolated sound will be alarming and unrealistic, so a soundscape must be created through precisely placing even the most minute detail.

Sound Observation #2

Independence Mall

For my second sound observation I wanted to use my ears in an environment that strongly opposed my first location. I decided to visit the Independence Mall on a Friday night. The mall, which is never particularly packed, is decently swarmed by shoppers. As I sit in the epicenter of the mall, sounds rush at me from every direction. Although the sounds come from nearly every direction, they are all very similar. It's a giant blend of almost unintelligible sounds. Listening closely, many different conversations can be heard, as soon as one is singled out, it is overpowered by another that is either nearer or louder. The overpowering rush of the verbal choir is accompanied by the electronic sounds of cash registers beeping and and the constant soft patter of soft soled shoes on a hard floor. Deuling atmospheric music from varying stores quietly fills the small gaps in the sounds of shoppers strolling through the mall. The space is rich with sounds, none of which are singularly pleasing.

Sound Observation #1

Ocean in the Dark - Sounds at Sea

For my first sound observation I decided to visit the beach at night, as I find it to be an extremely calming experience. Its after midnight and only a few people are stretched along the never ending shore. With my body resting completely on the sand and my eyes comfortably closed, I am engulfed by the powerful sloshing of the waves. As they approach the shore, they clap against each other in a repetitive rumble. The wind tears its way down the beach in a powerful gush that compliments and drives the thunder of the ocean. Not too far off the quiet murmuring of voices is heard for an instant, but is soon overpowered by the gliding hum of an aircraft in the sky. When the aircraft moves away and it's loud sound dies down, the voices re-emerge closer and more audible. Their sound builds with intensity as they pan along my audible plane and disappear under the waves and wind again.

On "Amateur vs. Professional"

The matriarch of amateur filmmaking - Maya Deren - was a truly innovative filmmaker. Her films shine bright and amaze viewers as they wonder how she made such complex films with her limited tool set. Deren herself brags that the best equipment for making films cannot be purchased, it must be created and nurtured by you. Deren placed a great emphasis on the importance of skill, problem solving, and freedom. Without being confined by expensive equipment and overbearing investors, Deren created her art in agreeance with her body and mind. Deren dares not shy away from being called an amateur filmmaker because of her methods, instead she gloats in her ability to do what she wants for the love of the thing, not the loads of money.

On Fred Camper and "What is Experimental Film?"

Fred Camper’s attempt at defining experimental films is a noble effort. What can and cannot be defined as an experimental film often exists along a finely blurred line. The very essence of experimental film is the amount of raw innovation that goes into their production. While some filmmakers and viewers alike may argue that experimental films can only be created independently, there are experimental films that are created by means that are very similar to studio productions. Whether a film is truly experimental or not depends on its content and the methods through which it was produced, not necessarily by whom it was made. Nonetheless, the best experimental films often gain their gleam and glamour from their humble modes or production.

Artist's Biography

Joshua Sessoms is an aspiring filmmaker from Fayetteville, North Carolina. His interest in filmmaking can be attributed to his childhood in an isolated rural area. Growing up in the country, Joshua lived miles away from his nearest friends. He spent most of his days staying with his grandparents, working in their garden. After the day's work was done, the family would retreat inside to relax. Although he had a very limited selection of 8 VHS tapes, watching films became one of Joshua’s favorite activities. He would watch his small collection of films hundreds of times throughout the years, sometimes watching a single film more than twice in one day. His repeated viewings allowed him to see beyond the images on the screen and understand how stories told through film worked. The catalyst of his desire to be a filmmaker came about by complete accident. One day while viewing his VHS copy of Jan de Bont’s 1999 horror-thriller “The Haunting”, Joshua let the film run beyond its credits and discovered a “making of” featurette. Completely amazed by seeing what went on behind the camera, he quickly decided that he wanted to contribute to the creation of films. His desire to create is alive in well, fifteen years after its development. In order to formally learn how films are made, Joshua began attending Fayetteville Technical Community College in the fall of 2013 to pursue a Fine Arts degree. Still wanting more, he relocated to Wilmington, North Carolina during the summer of 2015 to partake in the Film Studies Program at the University of North Carolina Wilmington.

Joshua is an avid fan of the horror genre, and takes pride in his collection of alternate releases of the “Halloween” film series. He also enjoys self-taught graphic design, building furniture, and working on short films.