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IAC Role of Honour
Awards & Trophies: Sound

The IAC Trophy for
Creative Use of Sound

It is important to note the term "creative" here.

The IAC Trophy for Creative Use of Sound.

There was also in earlier years a trophy called The Twyford Cup given for the best non-synch sound. In the early 21st century the giving of trophies was stopped, but the award continues.

1938 A Pallette in Cornwall J. E. Davies
1942 Our Daily Bread John Martin
1945 Cornish Cove John Martin
1948 Without Straw Ivor F. Smith
1949 Bells of Torment Planet Film Society
1951 The Scottish Showgrounds Harry Birrell
1953 City of Temples Laurie & Stuart Day
1954 Dance Little Lady Laurie & Stuart Day
1955 Flight 566 C. Morgan Jones
1956 Manhattan Maelstrom Dot and Luscher
1958 Passport to Paradise Laurie Day, Stuart Day, Gerald Mee
1971 The Wager Peter Rouillard
1973 La Citta dai Mille F. Bertlizzi & Colorista Morendo
1974 Echecs Postaux Pierre Michelle
1975 Malabar Masque A. D. Bolland
1976 La Chute de la Casquette Filmwerk Groep Blepo
1977 Zoo Michael Slowe
1978 The Anna Contract Finchley Cine Society
1979 Cycle Brandon Apps
1981 The Hungry Grass Archie Reid
1982 Beyond the Gate Michael Galea
1983 Piano Rialzato Rolph Mandolesi
1984 Look at Me Finchley Cine Society
1985 Reign of the Tigers Abbey Film Unit
1987 Gone West Tony Cane-Honeysett
1988 De Vier Jaargetijden Piet Van Es
1989 The Thing From Beneath The Bed!! Chris Jones
1990 The Shape Ian Gamble
1994 Hate Howard Ford / Jason Delorme
1995 Requiem for a Blue Planet Leandro Blanco
1996 The Message Borehamwood C & CC
1997 F205 Leandro Blanco
1999 Der Pechvogel Rudiger Schnoor & Wolfgang Wesemann
2000 Pianissimo Mino Croce & Guido Wilhelm
2001 Argentian Association of Actors Sebastian Alfie
2002 Soul To Keep Colin Paxman
2003 Etude 25 Eggermont Leslie
2004 Waterway to Wales David A. Whitworth
2005 no award
2006 Living in the Past Michael Gough
2007 The Thames Tunnel John Astin
2008 Overleven (Survival) Mark Kapteijns

IAC Festivals Main Page | Trophies Introduction


Page updated on 19 September 2008

Authors' views are not necessarily those of The Institute of Amateur Cinematographers

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