Sounding out an education: different pathways, one industry?

Abstract

This article provides a preliminary study of educational pathways available to film sound personnel working in Australia and New Zealand through semi-structured interviews and analysis of institutional materials on educational opportunities. A production cultures approach (Caldwell 2008) reveals that although there are a variety of paths available for future personnel, those within the industry have firm views on which paths should be undertaken. Within this paper, formal education will encompass tertiary coursework and private tuition, while practical education will refer to apprenticeships, workshops, learning on the job and self-training. The discussion of education and training brings to light the stance of the industry towards education. It is important to take these perspectives into account if we are to provide education programmes that encourage pathways to employment among other outcomes. Industry trends, such as the closure of production facilities or changes in task allocation, influence education and training. Through an analysis of interviewee responses and their perspectives, as well as preliminary examination of what educational courses are offered within Australia and New Zealand through online analysis, the article presents ideas on current and future education pathways for film sound personnel.

Notes on contributor

Natalie Lewandowski is the editor of Screen Sound Journal – The Australasian Journal of Soundtrack Studies and is currently completing her PhD, through Macquarie University, on Australian and New Zealand film soundtrack personnel. Natalie teaches in screen sound, media copyright, public and media relations and Australian contemporary art, and has published articles on soundtrack personnel, sound in contemporary Australian film, music supervision and science fiction sound. Natalie's interest in soundtrack studies and communication is integrated with her industry background in marketing, economics and public relations. Natalie is the current treasurer for the International Association for the Study of Popular Music – Australia and New Zealand chapter and manager of the Queensland Conservatorium Research Centre at Griffith University.

Notes

1. For instance, in 2009 Sydney post-production studio Audio Loc was shut down.

2. The vast majority only included one or two token film sound modules, which does not constitute a specialized degree in film sound or film music.

3. In 2011, the tertiary provider Navitas Group purchased SAE for over AU$290 million. Navitas has strong links with universities and provides a direct pathway into bachelor courses for successful graduates.

4. As New Zealand sound designer Tim Prebble notes on the blog Sound Design Stack Exchange – Sound Design Education in NZ (http://socialsounddesign.com/questions/5265/sound-design-education-in-nz).

5. Caitlin Yeo had a master's from AFTRS and Victoria Kelly has undertaken postgraduate studies in film composition at the University of Southern California.

6. http://socialsounddesign.com/questions/5265/sound-design-education-in-nz