Budhaditya Chattopadhyay (not valid)


Budhaditya Chattopadhyay is an Indian-born sound/media artist and researcher. Chattopadhyay’s work questions the materiality, site-specificity and object-hood of sound and addresses the aspects of contingency, contemplation and mindfulness inherent in listening. Chattopadhyay’s sound-works are exhibited, performed or presented internationally, and he has received several residencies and international awards. As a scholar, Chattopadhyay has an extensive list of publications in the area of sound art, new media, cinema and sound studies in leading peer-reviewed journals, such as Organised Sound, SoundEffects, Journal of Sonic Studies, The New Soundtrack and Leonardo Music Journal. Chattopadhyay has graduated from the national film school of India, specializing in sound, and received a Master of Arts degree in new media/sound art from Aarhus University. He is working on an artistic practice-based PhD project in sound studies. Personal website: http://budhaditya.org


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  • 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 (not valid)
    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.
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