The aughts are finally behind us, and Reverse Shot chugs on. We’re kicking off our eighth year in existence with a bang. Or it could be a shriek. Or a sigh. Or a blast of music. Or a word or sentence. Maybe you’re starting to get the picture. Welcome to the third installment of our unofficial symposium series that began with Take One (in which we asked writers to isolate and write about a single shot in a movie and Take Two (for which writers formed an essay around one cut). For Take Three, we invited our staff writers and contributors to focus on one instance of sound. This ongoing project isn’t simply to take film apart and look at it technically but also to see how those small elements fit into the whole, to see how a film’s construction informs its entire being. It’s a major synecdochic exercise we find both useful and enlightening, and that hopefully our readers find entertaining. Read the rest of the introduction to Issue 27—Take Three: Reverse Shot Sounds Off here, and check out our first five essays, on Some Like It Hot, Breakfast at Tiffany’s, Star Wars, Nashville, and Vertigo. We’ll be unveiling new articles every week all month long, so keep checking back.
Also, listen up: we figured this was the perfect opportunity to finally do something we have always wanted to do—to create podcasts to accompany our writing. We’re glad we waited: designed and recorded by audio producer Michael Garofalo, of StoryCorps, with assistance by Nadia Reiman, these audio pieces, for which we interviewed a handful of writers about their essays, are dynamic works in their own right. We hope you enjoy them, and we hope they won’t be our last. Listen to the first episode here, featuring writers Matt Connolly on Some Like It Hot, Farihah Zaman on Breakfast at Tiffany’s, and Eric Hynes on Star Wars. Check back weekly for more installments of the Reverse Shot Podcast.