The constituent aspects of synchresis: A practice-led examination of audio-visual synchronization in key sites of production Hugo Presser Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Swinburne University of Technology 2021 Abstract In his seminal work Audio-Vision, Chion (1994) uses the term synchresis to refer to instances of audio- visual synchronization in film and video production. From his examination of audio-visual practice and the various exercises to discuss and produce synchronization, there have subsequently been few efforts to identify the constituent elements of form and the characteristic uses of synchresis in screen- production. Using Chion’s (1994) discussion as a framework, this research project has sought to deconstruct and propose a taxonomy of the constituent elements of a single instance of synchresis. With the aim of deconstructing audio-visual synchronism and forging new approaches to synchresis, the methods used in this project contribute a unique research undertaking in the form of a practice-led method that is supported by an examination of synchresis in music video and commercial advertising production. This submission is comprised of two parts: a written component herein, alongside an artefact component of original music and music video that has been created in dialogue with the written submission. To distinguish clearly between the varied approaches to synchresis in the artefact submission, the music and music videos are submitted under monikers that are each played by me, with a varying approach to the synchresis in production: It's the Delmer Brothers!, Pap, Peter Bowman Jr, The Fed-Up Kids. As a means of observing and identifying the ways in which synchresis occurs in media production, the practice-led component of music and music videos is submitted alongside the identification and supporting examination of commercial advertising and music video production. These discussions are interwoven with the explication of my own audio-visual practice, as a means of articulating each as a response to the identification of an instance of synchresis in existing media production. Although I have suggested in the conclusion that the aim of identifying and presenting a taxonomy of audio-visual synchronism was not achieved, the outcomes are valuable in articulating how and why it is problematic to deconstruct and categorise audio-visual synchronism rigorously. Given this, the conclusions that have been obtained from this research project are problematic, though they suggest how the process of obtaining a taxonomy is fraught with inconsistencies and of the difficulties of rigorously deconstructing and creating a taxonomy for audio-visual synchronism in media production. Acknowledgements Firstly, I would like to express my gratitude to my primary supervisor throughout this process, Doctor James Verdon, for bearing with my constant rearrangement of the exegesis and artefact, and through the extension of my candidature in light of various setbacks. In addition to my primary supervisors, I would like to thank and acknowledge the assistance of my various secondary supervisors, Associate Professor Deirdre Barron and Doctor Ramon Lobato. Without their help, scrutiny, patience and encouragement, the accompanying written component would likely still be incomplete. Besides my primary and secondary supervisors, I would like to thank the various panel members: Associate Professor Simone Taffe, Doctor Carolyn Beasley, Doctor Steven Conway and Doctor Mark Freeman who each provided feedback and reviewed my work across the lengthy course of the candidature. I would like to extend my love and thanks to my family, my mother Christine and father Lutz, my sister Niele for their love and support. Foremost, to Jaime for her love, support, and endless patience in bearing with me through the submission. Declaration I Hugo Presser do declare that the thesis contains no material which has been accepted for the award to the candidate of any degree or diploma, except where due reference is made in the text of the thesis. That to the best of my knowledge this thesis contains no material previously published or written by another person except where due reference is made in the text of the thesis, and that where the work in this thesis is based on joint research or publications that the relative contributions of the respective workers or authors has been disclosed. 20/06/2019 Hugo Presser Date This thesis has been edited by Professor Margaret Zeegers. This editing has addressed only the style and/or grammar of the thesis and not its substantive content. Table of Contents Table of Contents .............................................................................................................. i List of Figures .....................................................................................................................i A List of Titles Comprising the Artefact Submission ....................................................... iv An Overview of the Project ............................................................................................... 8 A Discussion of the Screen-Production Research Methodology ................................... 10 The Screen-Production Framework of the Project ....................................................... 12 A Brief Overview of Audio-Visual Synchronization .......................................................... 19 Animation and Synchronous Sound ............................................................................. 25 The Classifications of the Taxonomy in the Project .......................................................... 29 Points of Audio-Visual Synchronization ....................................................................... 33 The Synchretic Envelope of a Synch-Point ................................................................... 34 Synchretic Parameters and Operations ....................................................................... 35 Music Video as a Site of Audio-Visual Synchronisation .................................................... 37 Commercial Advertising as a Site of Audio-Visual Synchronisation .................................. 40 Medium-Specific Noise in the Production of the Artefact Submission ............................. 44 The Working Processes Comprising the Artefact Component .......................................... 48 It’s the Delmer Brothers!—Commercials 1975 – 1981 .................................................. 48 The Fed-Up Kids—Campus Slump OST (1981) .............................................................. 49 Peter Bowman Jr.—City Nights (1984) ......................................................................... 49 Pap—Self-Titled (2019) ............................................................................................... 50 i Omitted Compilation .................................................................................................. 51 A Statement Addressing the Authenticity of the Album Covers in the Artefact Submission ....................................................................................................................................... 52 Synchretic Cutting ........................................................................................................... 55 Peter Bowman Jr.: Exhausting Moment ....................................................................... 59 Synchretic Convergence .............................................................................................. 61 Verbal Signification and Synchresis ............................................................................. 62 It’s The Delmer Brothers!: Cindy Doll and L’Efforel ...................................................... 63 Synchretic Collision ......................................................................................................... 66 Synchronism produced via Materialising Indices ......................................................... 67 Pap: The Winnings and Losses of Dr Kyotan ................................................................ 71 Reinforcing a Short-Envelope Collision ........................................................................ 73 The Fed-Up Kids: School .............................................................................................. 74 Synchretic Transmutation ............................................................................................... 77 Pap: Surfin’ Sluffs ........................................................................................................ 79 Division of Consonance and Dissonance ...................................................................... 80 Peter Bowman Jr.: An Arrangement ............................................................................ 84 Synchretic Dynamism ..................................................................................................... 88 Dynamic Examples of Mickey-Mousing ....................................................................... 89 Mickey Mousing in the Work of Chris Cunningham ..................................................... 90 Thousand Yard Stare ................................................................................................... 94 ii Incongruous Dubbing .................................................................................................. 96 The Fed-Up Kids: The Heel ..........................................................................................