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Foley Sound: New Theories and Approaches
  • ISSN: 1751-4193
  • E-ISSN: 1751-4207

Abstract

In 2006, Canadian director Guy Maddin premiered a semi-autobiographical film at TIFF called , which featured live Foley sound and orchestral accompaniment. Adopting the aesthetics of silent film, Maddin presents a warped version of his childhood traumas, filtered through the funhouse mirror of Sigmund Freud, Fritz Lang and the Brothers Grimm. Further emphasizing the discordances of recollection and actual event, Maddin’s theatrical presentation divorces sound from screen, reimagining the film’s soundscape (and by extension, that of his childhood) as an exaggerated live reproduction, mirroring the very process of replaying a memory. Two years after this film premiered, Maddin made a faux-documentary about the original Foley process called (2008), which centres upon the sound artists themselves. Employing the same aesthetic conventions, this short film depicts the craft of Foley as a surreal science of the subconscious, an act of symbolic projection carried out by strange figures in lab coats. If watching and listening to these films is to be momentarily trapped inside ‘the fevered brain of Guy Maddin’, as one critic puts it, then this article sets out to interrogate the role of the sound artist in enabling and enacting such fantasies within the director’s singular psychodramas. Maddin’s foregrounding of the Foley artist is, I argue, analogous to the exhumation and display of unconscious material.

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/content/journals/10.1386/ts_00034_1
2024-09-17
2025-03-26
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/content/journals/10.1386/ts_00034_1
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  • Article Type: Article
Keyword(s): aesthetics; film studies; live performance; memory; psychoanalysis; sound studies; soundscapes

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