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Noisereduction_web_1
FILM GUIDE ARCHIVE SHORT NARRATIVE

NOISE REDUCTION II: CHINATOWN

TFF 2014 Directed by Rahee Punyashioka
FILM GUIDE ARCHIVE NOISE REDUCTION II: CHINATOWN [TFF 2014]
The lament over the ‘death’ of film is re-enacted digitally, as the screen-as-landscape reacts to the material exegeses of film—scratches, splices, sprockets, dust etc.—that are digitally [de/re]constructed, in (im)probable verisimilitude to Celluloid. The sound design, text, and voice-over contribute to the film experience, as it simultaneously criticizes it.

Screening in Shorts Program: Digital Dilemma
Interests
Experimental
The lament over the ‘death’ of film is re-enacted digitally, as the screen-as-landscape reacts to the material exegeses of film—scratches, splices, sprockets, dust etc.—that are digitally [de/re]constructed, in (im)probable verisimilitude to Celluloid. The sound design, text, and voice-over contribute to the film experience, as it simultaneously criticizes it.

Screening in Shorts Program: Digital Dilemma
Film Information
Year: 2014
Length: 15 minutes
Language: English
Country: India
Premiere: North American
Cast & Credits
Director: Rahee Punyashloka
Screenwriter: Rahee Punyashloka
Producer: Rahee Punyashloka
Editor: Rahee Punyashloka
Associate Producer: Richie Abraham
Cinematographer: Rahee Punyashloka
Executive Producer: Rahee Punyashloka
Cast: Not Applicable
Contacts

Print Source
Rahee Punyashioka
EnKaiPan Films
New Delhi, 110067
Phone: +919711826251
rproker13@gmail.com

Press Contact
Rahee Punyashioka
EnKaiPan Films
New Delhi, 110067
Phone: +919711826251
rproker13@gmail.com

US Sales Contact
Rahee Punyashioka
EnKaiPan Films
New Delhi, 110067
Phone: +919711826251
rproker13@gmail.com

International Sales Contact
Rahee Punyashioka
EnKaiPan Films
New Delhi, 110067
Phone: +919711826251
rproker13@gmail.com

About the Director(s)
Rahee Punyashloka, born in India, is a visual artist and filmmaker majorly influenced by the works of Hollis Frampton and Pat O’Neill, among others. Recently, he has tried to explore a displacement from the ‘ontological essence of the image’ in celluloid to more complex iconographic possibilities of representation through the digital image.

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