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The Music and Sound of Experimental Film$
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Holly Rogers and Jeremy Barham

Print publication date: 2017

Print ISBN-13: 9780190469894

Published to Oxford Scholarship Online: August 2017

DOI: 10.1093/acprof:oso/9780190469894.001.0001

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Rebalancing the Picture-Sound Relationship

Rebalancing the Picture-Sound Relationship

The Audiovisual Compositions of Lis Rhodes

Chapter:
(p.205) 10 Rebalancing the Picture-Sound Relationship
Source:
The Music and Sound of Experimental Film
Author(s):

Aimee Mollaghan

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780190469894.003.0011

This chapter explores how experimental filmmaker Lis Rhodes subverts the hegemonic relationship between sound and image across her body of moving image work in order to highlight and address inequitable power structures and the absence of the female voice in music and society. This is achieved on a material level by translating the optical soundtrack into visual presentations in her direct animation Dresden Dynamo (1971–72) and within an expanded, performative context in her audiovisual composition Light Music (1975). Further to this, Rhodes’s later films, Light Reading (1978) and A Cold Draft (1988), continue to rebalance the audiovisual relationship by giving countenance to the female voice, acousmatised from the images presented on screen.

Keywords:   Lis Rhodes, London Film Makers’ Co-operative, expanded cinema, optical sound, experimental film, structural/material film, direct animation, the female voice, Light Music, Dresden Dynamo

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