Budhaditya Chattopadhyay

Netherlands, Norway (residence)
affiliation: Critical Media Lab, Basel, and KMD, University of Bergen
en

Budhaditya Chattopadhyay is a contemporary artist, researcher, and writer. Chattopadhyay produces works for large-scale installations and live performance addressing contemporary issues of environment and ecology, migration, race, and decoloniality. His works have been widely exhibited, performed, or presented across the globe. Chattopadhyay has an expansive body of scholarly publications in artistic research, sound studies, media theory and aesthetics in leading peer-reviewed journals and platforms. He is the author of five books: The Nomadic Listener (2020), The Auditory Setting (2021), Between the Headphones (2021), Sound Practices in the Global South (2022), and Sound in Indian Film and Audiovisual Media (2023). Chattopadhyay holds a PhD in Artistic Research and Sound Studies from the Academy of Creative and Performing Arts, Leiden University, and is currently a Visiting Professor at the Critical Media Lab, Basel, Switzerland, and an MSCA Postdoctoral Fellow at the Kunstakademiet – Department of Contemporary Art, University of Bergen. https://budhaditya.org/

 


research

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works

  • Being There: Evocation of the Site in Contemporary Indian Cinema (18/07/2016)
    Publication: Publication, Journal of Sonic Studies, artist(s)/author(s): Budhaditya Chattopadhyay
    Contemporary Indian films, in their essentially digitalised realms, incorporate techniques such as the location-based multitrack “sync” recording, and surround sound design that reorder the organization of cinematic sound. These practices contrast with the earlier mono- or stereo formats by reconfiguring the linear construct of a soundtrack to produce a spatially evocative sonic environment that offers the listener a more life-like auditory experience of the fictional site. Using significant examples from post-2000 Indian films, this article shows how earlier practices are being replaced by “sync” sound elements and surround sound mixing with a richly spatial arrangement of site-specific ambience. The article argues that these layers of ambient sounds lead to audiences establishing their embodied experience of presence with the fictional site via auditory spatial cognition and immersion in a cinematic soundscape. By situating contemporary sound production practices within the various trajectories of Indian cinema, this article contributes to the broader field of research examining the key developments and emergent aesthetics in constructing spatial environments for cinema.

research expositions (collaborated)

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