Philip Brophy is a respected academic, filmmaker, writer and musician. He writes for Frieze, The Wire, Film Comment, and Real Time.
After a series of Super 8 shorts with Tsk-Tsk-Tsk in the early ‘80s, and the experimental short feature Salt, Saliva, Sperm & Sweat in 1988, Philip Brophy made his feature directorial debut with Body Melt in 1993, funded by the Australian Film Commission and Film Victoria. He has scored and sound-designed most of his films, and designed the sound and composed music for numerous shorts. In this field Brophy specializes in Dolby Surround applications and contemporary soundscapes.
He was also instigator and director of the Cinesonic International Conference on Film Scores & Sound Design held annually in Melbourne, and has edited 3 books from the conference published by the Australian Film TV & Radio School. Having created the Soundtrack stream in Media Arts at RMIT, Melbourne, he continues to lecture and present on film sound and music internationally.
As a writer and speaker on film, Philip Brophy specializes in three distinct areas: (i) horror, sex & exploitation; (ii) film sound & music; and (iii) Japanese animation. He is widely published in all three areas internationally, and has curated numerous programmes for the Melbourne International Film Festival. His most recent book is 100 Modern Soundtracks for the British Film Institute, London. His forthcoming book is 100 Anime, also for the BFI.