Surface Noise, cobbled from found footage that Child describes as “outtakes of outtakes “, is a dense collage of images with a John Zorn-like soundtrack. Sometimes the images sync with the noise; the flailings of a salmon swimming upstream is coupled with a rimshot , and home movie footage of a man laughing is paired with a female opera singer. In most of SURFACE NOISE, however, sound and image follow their own dialectical paths, creating a density which is Childs tribute (as a dedication at the end of the film makes clear) to the equally complex films of Warren Sonbert .
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