Photo: Katie Quanz at TIFF archives
Katherine Quanz successfully defended her doctoral dissertation “The Struggle To Be Heard: Toronto’s Postproduction Sound Industry, 1968 to 2005” on July 21, 2016.
Her thesis examines how economic and technological changes shaped the sounds of Canadian cinema, from the modern industry’s founding in the late 1960s to the widespread adoption of digital editing software in the early 2000s. By focusing on the labour and craft practices that coalesced in Toronto’s postproduction companies, Quanz argues that such practices engendered a critical shift in the sonic style of Canadian film sound. Whereas fiction films initially featured a sonic style developed by the National Film Board of Canada for documentary production, filmmakers eventually adopted a style strongly identified with Hollywood cinema. Although it is tempting to explain this shift by appealing to generalized statements about the globalization of Hollywood cinema, Quanz reveals a more complex picture in which a host of historical forces, including government policies, industrial competition, and discursive practices among craftspeople, are seen to shape how new sound technologies were used and how the adoption of these technologies did, or did not, affect the aesthetic of Canadian film sound. In order to narrow the focus of this dissertation, her case studies draw on films from the genres of horror and science fiction. This dissertation ultimately demonstrates that it is not technology alone that leads to style change; rather, such changes can be accounted for by a complex intersection of historical forces at any given period of Canadian film history. Put conversely, the history of Canadian cinema can be detected in its soundtracks.
The supervisory committee consisted of Katherine Spring, Rick Altman, Philippa Gates, Peter Urquhart, and the external examiner was Charles O’Brien.