By Cubitt, Sean; Monani, Salma; Rust, Stephen

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About halfway through the shot, a train crosses the bridge from right to left. As Songhua continues, Sniadecki creates a network of cross references, like the railroad bridge in the first two shots, that allow us to understand more fully how each new visual perspective relates to the larger scene. In shot three, we are looking at a dock from which boats depart for various attractions along the river (a woman on a loudspeaker promotes the use of the boats). Part way through the shot a man wheels a bicycle into the foreground of the image from the left, unloads a heavy white bag onto a pile of similar bags, and wheels his bicycle offscreen in the direction from which he arrived.

While the surf sound of shot one is consistent throughout the shot, the two-and-a-half-minute duration of shot two allows us to become aware of a continually changing chorus of bird sounds. In fact, the auditory intricacy of the bird sounds seems perfectly fitting for the visual intricacy of the live oaks, and this complexity of sound/ image is dramatically interrupted by the sudden cut to shot three, which is one of the quietest shots in Sogobi. Throughout the film, Benning’s careful attention to visual composition—both within each shot and within successive shots—is matched by his careful attention to the particulars of sound.

Qxd 23/7/12 12:03 Page 23 One of my great moments in traveling by sea happened one night going across the Indian Ocean en route to the Persian Gulf and encountering a storm I did not anticipate. I was up on the bow of the ship late at night, probably about three in the morning. It was completely dark: the sky was clouded up so there were no stars or moon to illuminate anything. All of a sudden I felt the temperature change. I was getting colder and colder, and then I realized it was getting even darker.

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