CH7. SOUNDCH7. SOUND

What is Sound?What is Sound?

• At its most basic level, the perceptual At its most basic level, the perceptual phenomenon we call “sound” is created by phenomenon we call “sound” is created by variations in air pressure.variations in air pressure.• Sound operates on both physical and Sound operates on both physical and psychological levels.psychological levels.• Sound, in narrative films, provides cues to Sound, in narrative films, provides cues to help us form expectations about “meaning”.help us form expectations about “meaning”.• A sound film can emphasize silence. A sound film can emphasize silence.

Sound BitesSound Bites• ““the eye sees better when the sound is greatthe eye sees better when the sound is great”…….”…….• Steven SpielbergSteven Spielberg• Sound is an integral storytelling device Sound is an integral storytelling device • Since the 1970’s (Dolby Stereo, 1976) breakthroughs in sound Since the 1970’s (Dolby Stereo, 1976) breakthroughs in sound

have been among the industry’s most important technical and have been among the industry’s most important technical and creative innovations.creative innovations.

• Digital playback revolutionized the art of film soundDigital playback revolutionized the art of film sound• Today we have several competing multi-channel digital sound Today we have several competing multi-channel digital sound

formats including: formats including: Dolby Digital, Digital Theater Systems Dolby Digital, Digital Theater Systems (DTS) and Sony Dynamic Digital Sound (SDDS)(DTS) and Sony Dynamic Digital Sound (SDDS) as well as as well as THX Certified TheatersTHX Certified Theaters..

• Cinema is now oddly unbalanced. In sound, it is fully three Cinema is now oddly unbalanced. In sound, it is fully three dimensional, but its picture remains two dimensional.*dimensional, but its picture remains two dimensional.*

• **Digital 3-D is making significant inroads!Digital 3-D is making significant inroads!

Sound Production PhasesSound Production Phases

1.1. DesignDesign

2.2. RecordingRecording

3.3. EditingEditing

4.4. MixingMixing

Sound Design ISound Design I

A state-of-the-art concept pioneered by A state-of-the-art concept pioneered by director Francis Ford Coppola and film director Francis Ford Coppola and film editor Walter Murch, combining the editor Walter Murch, combining the crafts of crafts of editingediting and and mixingmixing and, like and, like them, involving both theoretical and them, involving both theoretical and practical issues. practical issues.

In essence, sound design represents In essence, sound design represents advocacy for movie sound.advocacy for movie sound.

Sound Design II Sound Design II

• Sound design, or the creating of sound for a Sound design, or the creating of sound for a film, has in the past been the responsibility of film, has in the past been the responsibility of a sound crew who recorded, edited, and mixed a sound crew who recorded, edited, and mixed a soundtrack.a soundtrack.

• Today’s digital filmmaking involves making a Today’s digital filmmaking involves making a sound track consisting of a digital code placed sound track consisting of a digital code placed on a digital recording medium.on a digital recording medium.

• Sound may be recorded with a complex Sound may be recorded with a complex system such as Dolby requiring a theater to system such as Dolby requiring a theater to have a Dolby playback system.have a Dolby playback system.

Sound Design IIISound Design III

The contemporary concept of The contemporary concept of sound designsound design is based upon:is based upon:

1.1. Sound should be integral to all three phases Sound should be integral to all three phases of film production and not just added in post.of film production and not just added in post.

2.2. A film’s sound is potentially as expressive as A film’s sound is potentially as expressive as its images.its images.

3.3. Image and sound can create different worlds.Image and sound can create different worlds.

4.4. Image and sound are co-expressible. Image and sound are co-expressible.

Sound Design IVSound Design IV

• According to Tomlinson Holman (the According to Tomlinson Holman (the creator of Lucas film's THX technology):creator of Lucas film's THX technology):

““Sound design is the art of getting the right sound Sound design is the art of getting the right sound in the right place at the right time”.in the right place at the right time”.

• Sound is not subordinateSound is not subordinate to image. to image.

Sound Recording ISound Recording I

• The history of recording movie sound has The history of recording movie sound has evolved from evolved from opticaloptical and and magneticmagnetic to the to the digital systemsdigital systems used today. used today.

• Of the various types of film sound, Of the various types of film sound, dialoguedialogue is the only type typically is the only type typically recorded during production. Everything recorded during production. Everything else is added in the else is added in the editingediting and and mixingmixing stages of stages of postproductionpostproduction..

Sound Recording IISound Recording II

• The recording of production sound is the The recording of production sound is the

responsibility of the production sound responsibility of the production sound

mixer/recordistmixer/recordist, , a boom operator, a boom operator, andand

gaffersgaffers in charge of power and cabling. in charge of power and cabling.

• Double-system recordingDouble-system recording is the standard is the standard

technique of recording film sound on a technique of recording film sound on a

medium separate from the picture.medium separate from the picture.

PRODUCTION MIXERPRODUCTION MIXER

The sound department has the most eccentric reputation The sound department has the most eccentric reputation

of all on the production. They sit behind a little tape of all on the production. They sit behind a little tape

deck and slightly adjust the volume of a single deck and slightly adjust the volume of a single

microphone during a take. Sound people are microphone during a take. Sound people are

insufferably finicky techies. But they are serious bon insufferably finicky techies. But they are serious bon

vivants with personal cappuccino makers, and an vivants with personal cappuccino makers, and an

encyclopedic knowledge of exotic vacation encyclopedic knowledge of exotic vacation

destinations. Recording sound is the easiest job on the destinations. Recording sound is the easiest job on the

crew because so many takes are crew because so many takes are MOS (without sound)MOS (without sound)

Boom OperatorBoom Operator

• The person who holds the microphone, which is The person who holds the microphone, which is suspended at the end of a long pole (suspended at the end of a long pole (boomboom) over ) over the actor’s heads and moves it during a take, the actor’s heads and moves it during a take, following the action, so that the lines are always following the action, so that the lines are always delivered as close to “on mic” as possible.delivered as close to “on mic” as possible.

• It is actually one of the most difficult jobs on the It is actually one of the most difficult jobs on the set. The best operators are tall and have sturdy set. The best operators are tall and have sturdy arms and must keep the “arms and must keep the “fish polefish pole” out of sight ” out of sight of the camera yet as close to the talent as of the camera yet as close to the talent as feasible. {feasible. {inverse square lawinverse square law}}

Sound Department AssistantsSound Department Assistants

The third person on the sound team is The third person on the sound team is the the cable pullercable puller. The mic/boom . The mic/boom package is connected to the recorder by package is connected to the recorder by one or more cables. Someone must one or more cables. Someone must glide those cables around the crew, glide those cables around the crew, camera, lights and other equipment as camera, lights and other equipment as the boom operator moves around to the boom operator moves around to follow the action.follow the action.

Sound Playback OperatorSound Playback Operator

Required on music videos and musical Required on music videos and musical

films, this person plays back sync sound films, this person plays back sync sound

playback of music for dancers or singers playback of music for dancers or singers

to “lip sync” to. This position speeds to “lip sync” to. This position speeds

along production of these specialty shoots.along production of these specialty shoots.

Sound Editing ISound Editing I• The editor is responsible for the overall process The editor is responsible for the overall process

of editing and for the sound crew (sound editors, of editing and for the sound crew (sound editors, sound mixers, Foley artists, music composer, sound mixers, Foley artists, music composer, music supervisor).music supervisor).

• Filmmakers first screen the Filmmakers first screen the dailiesdailies (or (or rushes rushes) ) which are synchronized picture/sound work which are synchronized picture/sound work prints of a day’s shooting.prints of a day’s shooting.

• Select the usable individual shots from the Select the usable individual shots from the outtakesouttakes (footage not used) and decide which (footage not used) and decide which dialogue needs rerecording.dialogue needs rerecording.

Sound Editing IISound Editing II

RerecordingRerecording of sound first recorded on of sound first recorded on

the set due to ambient or other noises the set due to ambient or other noises

(sometimes called (sometimes called loopinglooping or or dubbingdubbing) )

is most likely done today with a is most likely done today with a

computer through a process called computer through a process called

automatic dialogue replacementautomatic dialogue replacement

(ADR)(ADR)

Sound MixingSound Mixing

• MixingMixing is the process of combining different is the process of combining different sound tracks onto one composite sound track sound tracks onto one composite sound track synchronous with the picture. synchronous with the picture.

• Each type of sound occupies an individual Each type of sound occupies an individual sound track. The term also can refer to a sound track. The term also can refer to a compilation of movie music released on CD or compilation of movie music released on CD or DVD-audio.DVD-audio.

• The ideal result of “audio mise en scene” is a The ideal result of “audio mise en scene” is a clear and clean soundtrack.clear and clean soundtrack.

Describing Film SoundDescribing Film Sound

• When writing or talking about a movie’s When writing or talking about a movie’s sound, you should be able to describe a sound, you should be able to describe a sound in terms of its: sound in terms of its:

1.1. Perceptual Characteristics: (Perceptual Characteristics: (pitch, pitch, loudness, quality, fidelityloudness, quality, fidelity))

2.2. Its Source (Its Source (where it comes fromwhere it comes from))

3.3. Its Type (Its Type (vocal vocal or or musicalmusical))

Connections Between the Perceptual and Connections Between the Perceptual and Physical Characteristics of SoundPhysical Characteristics of Sound

Perceptual Characteristics Perceptual Characteristics

(what we perceive in sound) (what we perceive in sound) →→

Pitch Pitch →→

(or level) (or level)

Described as high or low.Described as high or low.

Loudness →Loudness →

(or volume or intensity)(or volume or intensity)

Described as loud or soft.Described as loud or soft.

Quality Quality →→

(or timbre, texture, or color)(or timbre, texture, or color)

Described as simple or complexDescribed as simple or complex

Physical CharacteristicsPhysical Characteristics

← ← (what constitutes the sound)(what constitutes the sound)

← ← FrequencyFrequency

(or speed-that is, the number of sound (or speed-that is, the number of sound waves produced per second)waves produced per second)

← ← AmplitudeAmplitude

(or degree of motion within the sound (or degree of motion within the sound wave)wave)

← ← Harmonic contentHarmonic content

(or texture resulting from a single (or texture resulting from a single sound wave or mix of sound waves)sound wave or mix of sound waves)

Movie Sound SlangMovie Sound Slang

>>SourceSource: the implied location from which a : the implied location from which a sound originates.sound originates.

e.g. the sound of footsteps-most likely done in e.g. the sound of footsteps-most likely done in FoleyFoley

>>FidelityFidelity: the faithfulness or unfaithfulness of a : the faithfulness or unfaithfulness of a sound to its source.sound to its source.

e.g. e.g. The Ice Storm (1997The Ice Storm (1997)-faithful reminder of )-faithful reminder of the power of naturethe power of nature

Buzz Words: Sources of Film Buzz Words: Sources of Film SoundSound

• Diegetic sound-Diegetic sound- originates from a originates from a

source within a film’s worldsource within a film’s world

• Nondiegetic sound-Nondiegetic sound- comes from a comes from a

source outside the film’s worldsource outside the film’s world

Buzz Words: Sources of Film Buzz Words: Sources of Film SoundSound

• Onscreen sound-Onscreen sound- emanates from a emanates from a

source that we can see.source that we can see.

• Offscreen sound-Offscreen sound- which can be diegetic which can be diegetic

or nondiegetic, derives from a source or nondiegetic, derives from a source

that we do not see.that we do not see.

Buzz Words: Sources of Film Buzz Words: Sources of Film SoundSound

• Internal sound-Internal sound- whenever we hear the whenever we hear the

thoughts of a character within a scene.thoughts of a character within a scene.

• External sound-External sound- comes from a place comes from a place

within the world of the story and we within the world of the story and we

assume that it is heard by the characters in assume that it is heard by the characters in

that world.that world.

Sources of Movie SoundSources of Movie SoundDiegetic SoundDiegetic Sound Nondiegetic SoundNondiegetic Sound

Spatial and Temporal AwarenessSpatial and Temporal Awareness

Produces spatial awarenessProduces spatial awareness XX

Produces temporal awarenessProduces temporal awareness XX XX

Source of SoundSource of Sound

InternalInternal XX

ExternalExternal XX

OnscreenOnscreen XX XX

OffscreenOffscreen XX XX

SimultaneousSimultaneous XX

NonsimultaneousNonsimultaneous XX XX

Types of Film SoundTypes of Film Sound

1.1. Vocal SoundsVocal Sounds a. Dialogue a. Dialogue b. Narrationb. Narration2.2. Environmental SoundsEnvironmental Sounds a. Ambient Sounda. Ambient Sound b. Sound Effectsb. Sound Effects c. Foley Soundsc. Foley Sounds3.3. MusicMusic4.4. Silence Silence

Vocal Sounds: DialogueVocal Sounds: Dialogue• Dialogue is recorded during production or re-Dialogue is recorded during production or re-

recorded during post production.recorded during post production.• ADR-ADR-re-recording re-recording done via computer-a faster, less done via computer-a faster, less

expensive, and technically more sophisticated process expensive, and technically more sophisticated process than re-recording that is done manually with actors.than re-recording that is done manually with actors.

• Dialogue is a function of plot and character Dialogue is a function of plot and character development. development.

• Dialogue is usually ordinary speech, but it can be Dialogue is usually ordinary speech, but it can be highly artificial.highly artificial.

• e.g. 1930’s Screwball Comedies like Hawks’s e.g. 1930’s Screwball Comedies like Hawks’s Bringing Up BabyBringing Up Baby (1938) (1938)

Dialogue IIDialogue II• Movie speech can take forms other than Movie speech can take forms other than

dialogue.dialogue. e.g. Alain Resnais’s characters reveal e.g. Alain Resnais’s characters reveal

stream of consciousness through stream of consciousness through intertwining strands of intertwining strands of interior monologueinterior monologue in in Providence(1977)Providence(1977)

>>Interior MonologueInterior Monologue: A variation on the mental, : A variation on the mental, subjective POV of an individual character that allows subjective POV of an individual character that allows us to see that character and hear that character’s us to see that character and hear that character’s thoughts in his or her own voice, even though the thoughts in his or her own voice, even though the character’s lips don’t move.character’s lips don’t move.

NarrationNarration

• NarrationNarration:: commentary spoken by either commentary spoken by either offscreen or onscreen voices, is frequently offscreen or onscreen voices, is frequently used in narrative films, where it may emanate used in narrative films, where it may emanate from an omniscient voice or from a character from an omniscient voice or from a character in the movie.in the movie.

e.g. e.g. The Killing (1956)The Killing (1956) Badlands (1973) Badlands (1973) The Magnificent Ambersons(1942)The Magnificent Ambersons(1942) Double Indemnity (1944)Double Indemnity (1944)

Environmental SoundsEnvironmental Sounds• Ambient SoundAmbient Sound: sound that emanates from : sound that emanates from

the background of the setting, either recorded the background of the setting, either recorded during production or added during post. It during production or added during post. It must not include unintentional noises (e.g. must not include unintentional noises (e.g. footsteps, car noisefootsteps, car noise).).

• Sound Effects:Sound Effects: includes all sounds artificially includes all sounds artificially created for the soundtrack that have a definite created for the soundtrack that have a definite function in telling the story.function in telling the story.

• Wild Recording: Wild Recording: any recording of the sound any recording of the sound not made during synchronous shooting of the not made during synchronous shooting of the picture. picture.

Buzz Word: FoleyBuzz Word: Foley

A special category of sound effects invented A special category of sound effects invented in the 1930’s by in the 1930’s by Jack FoleyJack Foley, a sound , a sound technician at Universal Studios. Whereas technician at Universal Studios. Whereas sound effects are recorded “wild” and are sound effects are recorded “wild” and are often taken from a library of prerecorded often taken from a library of prerecorded effects, Foleys are recorded in sync with the effects, Foleys are recorded in sync with the picture and are picture and are uniqueunique, specially-crafted , specially-crafted sounds.sounds.

FILM MUSIC FILM MUSIC • Film musicFilm music (like film sound generally) can be (like film sound generally) can be diegeticdiegetic or or

nondiegeticnondiegetic..• Diegetic musicDiegetic music comes from the story world: a character turns comes from the story world: a character turns

on a radio, e.g., or performs, as when the classic rock and on a radio, e.g., or performs, as when the classic rock and roller Buddy Holly (Gary Busey) plays his songs during roller Buddy Holly (Gary Busey) plays his songs during concerts in Steve Rash's concerts in Steve Rash's The Buddy Holly StoryThe Buddy Holly Story (1978). (1978).

• Nondiegetic musicNondiegetic music comes from beyond the story world, comes from beyond the story world, enhancing the viewer's appreciation and even understanding of enhancing the viewer's appreciation and even understanding of the story but not representing a literal part of the characters' the story but not representing a literal part of the characters' lives. It is recorded at the end of the editing process so it can lives. It is recorded at the end of the editing process so it can be matched to the images.be matched to the images.

• It is “It is “music…dramatically motivated and composed… to music…dramatically motivated and composed… to interact with specific facets of the filmic medium, particularly interact with specific facets of the filmic medium, particularly the narrative”. the narrative”.

……… ………Royal S. BrownRoyal S. Brown Author: Author: Reading Film MusicReading Film Music, U of Calif.Press, 1994, 13, U of Calif.Press, 1994, 13

FILM MUSIC IIFILM MUSIC II

• Music may be composed by those who specialize in Music may be composed by those who specialize in film music scores like: film music scores like: Bernard HermannBernard Hermann, who , who worked often with worked often with Alfred HitchcockAlfred Hitchcock,, Leonard Leonard RosenmanRosenman who composed for who composed for Kazan Kazan and and KubrickKubrick and by and by John WilliamsJohn Williams, who works often with , who works often with Steven Steven Spielberg.Spielberg.

• It may also be written by contemporary composers It may also be written by contemporary composers who are rock or pop musicians such as: who are rock or pop musicians such as: Danny Danny Elfman, Randy Newman, Bob Dylan, Rage Elfman, Randy Newman, Bob Dylan, Rage Against the Machine, Devo.Against the Machine, Devo.

FILM MUSIC IIIFILM MUSIC III

• Music can help tell a story, whether it pertains Music can help tell a story, whether it pertains to plot, action, character or mood.to plot, action, character or mood.

e.g.e.g. Q. Tarantino’s use of a carefree rock song “Stuck in the Q. Tarantino’s use of a carefree rock song “Stuck in the

Middle…”underplays a nihilistic, sadistic cop torture sceneMiddle…”underplays a nihilistic, sadistic cop torture scene..• Action movies like Action movies like Bourne Supremacy(2004) Bourne Supremacy(2004)

contain a mix of ambient sounds + John contain a mix of ambient sounds + John Powell’s score mixed with Russian folk music Powell’s score mixed with Russian folk music + techno.+ techno.

FILM MUSIC IVFILM MUSIC IV• Musical themes are frequently associated with Musical themes are frequently associated with

individual characters.individual characters. e.g. In e.g. In Titanic(1997)-Titanic(1997)-Rose’sRose’s theme by composer theme by composer

James HornerJames Horner..• Film music may emanate from sources within the story.Film music may emanate from sources within the story. e.g. e.g. Black Hawk Down(2001)Black Hawk Down(2001)composer composer Hans ZimmerHans Zimmer

used diegetic music from soldier’s radios, street used diegetic music from soldier’s radios, street musicians, mosques- a mix of Western and African musicians, mosques- a mix of Western and African music. music.

• With sound designer With sound designer Jon TitleJon Title, , Zimmer Zimmer created a created a “seamless entity”.“seamless entity”.

SilenceSilence

• SilenceSilence can be a sound. can be a sound.• With careful interplay between sound & With careful interplay between sound &

silence, a filmmaker can produce a new silence, a filmmaker can produce a new rhythm for a film-one that calls attention to the rhythm for a film-one that calls attention to the characters’ perceptions.characters’ perceptions.

e.g. In Kurosawa’s “The Blizzard Episode” e.g. In Kurosawa’s “The Blizzard Episode” from from DreamsDreams(1990) the sound track is limited (1990) the sound track is limited to wind, the ethereal woman andto wind, the ethereal woman and

limited consciousness.limited consciousness.

Types of Sound in Spielberg’s Types of Sound in Spielberg’s WarWar of of the Worlds(2005the Worlds(2005))

• A case study of this film will show that A case study of this film will show that sound designer sound designer Richard King’sRichard King’s sound sound effects help render effects help render frightfright as the heart of the as the heart of the story.story.

• John Williams’sJohn Williams’s musical score includes musical score includes atonal music, soft, muted horns and is atonal music, soft, muted horns and is assigned a secondary role in this particular assigned a secondary role in this particular film.film.

Functions of Film Sound IFunctions of Film Sound I

• Sound helps the filmmaker tell a movie’s story by Sound helps the filmmaker tell a movie’s story by

reproducing and intensifying the world that has been reproducing and intensifying the world that has been

partially created by the film’s visual elements.partially created by the film’s visual elements.

• A good soundtrack can make the audience aware of the A good soundtrack can make the audience aware of the

spatial and temporal dimensions of the screen, raise spatial and temporal dimensions of the screen, raise

expectations, create rhythm, and develop characters.expectations, create rhythm, and develop characters.

• Sounds that work directly include: dialogue, narration, Sounds that work directly include: dialogue, narration,

sound effects (often Foley Sounds) that call attention to sound effects (often Foley Sounds) that call attention to

on or off-screen events.on or off-screen events.

Functions of Film Sound IIFunctions of Film Sound II

1.1. Audience Awareness.Audience Awareness.

2.2. Audience Expectations.Audience Expectations.

3.3. Expression of Point-of-View.Expression of Point-of-View.

4.4. Rhythm.Rhythm.

5.5. Characterization.Characterization.

6.6. Continuity.Continuity.

7.7. Emphasis.Emphasis.

Audience AwarenessAudience Awareness

1.1. Sound can define sections of the screen.Sound can define sections of the screen.

2.2. Sound can guide our attention to between Sound can guide our attention to between these sections.these sections.

3.3. Sound can influence our interpretation.Sound can influence our interpretation.

e.g. The tapestry of sounds that e.g. The tapestry of sounds that underscores the opening of underscores the opening of Once Upon a Once Upon a Time in the West(1968)Time in the West(1968)defines its defines its cinematic space.cinematic space.

Audience ExpectationsAudience Expectations

• Sounds create expectations.Sounds create expectations.

e.g. In Ridley Scott’s e.g. In Ridley Scott’s Alien(1979Alien(1979); sound Jim ); sound Jim Shields) sound plays an impressive role in Shields) sound plays an impressive role in helping to create and sustain the suspenseful helping to create and sustain the suspenseful narrative. narrative.

e.g.2: The juxtaposition of the familiar e.g.2: The juxtaposition of the familiar “meow” sounds made by Ripley’s pet cat are “meow” sounds made by Ripley’s pet cat are played against the alien beast.played against the alien beast.

Film SlangFilm Slang• Bridge (music)-Bridge (music)- music (or sfx) used to link two or music (or sfx) used to link two or

more scenes. Often used to enhance continuity.more scenes. Often used to enhance continuity.

• Asynchronous sound-Asynchronous sound- sound that comes from the sound that comes from the

source apparent in the image but is not precisely source apparent in the image but is not precisely

matched temporally with the actions occurring in that matched temporally with the actions occurring in that

image. image. e.g. Alfred Hitchcock's 39 Steps (1939)e.g. Alfred Hitchcock's 39 Steps (1939)

A landlady discovers a body and screams and as she A landlady discovers a body and screams and as she

opens her mouth we hear a train whistle and cut to a opens her mouth we hear a train whistle and cut to a

speeding train leaving tunnel-an speeding train leaving tunnel-an asynchronous soundasynchronous sound

bridgebridge..

Expression of POVExpression of POV• Alfred Hitchcock is a master of expressing his Alfred Hitchcock is a master of expressing his point of viewpoint of view through through

sound.sound.

• In In PsychoPsycho (1960) (1960) the staccato violins of composer and sound designer the staccato violins of composer and sound designer

Bernard HerrmannBernard Herrmann accent the grisly murder in the famous shower scene. accent the grisly murder in the famous shower scene.

• In In The BirdsThe Birds (1963) (1963) one of the few of his movies that does not have one of the few of his movies that does not have

background music background music HitchcockHitchcock uses electronic bird sounds (by Remi uses electronic bird sounds (by Remi

Gassmann and Oskar Sala) to express the POV of human chaos.Gassmann and Oskar Sala) to express the POV of human chaos.

• ““In In The BirdsThe Birds, screeches are even more important than visual techniques , screeches are even more important than visual techniques

for terrorizing the audience during attacks. Indeed bird sounds sometimes for terrorizing the audience during attacks. Indeed bird sounds sometimes

replace visuals altogether…If in replace visuals altogether…If in PsychoPsycho music sounds like birds, in music sounds like birds, in The The

BirdsBirds bird sounds function like music. bird sounds function like music. Hitchcock Hitchcock even eliminates music even eliminates music

under the opening titles in favor of bird soundsunder the opening titles in favor of bird sounds .” .”

…… …….. Elizabeth Weis (Authority on Film Sound).. Elizabeth Weis (Authority on Film Sound)

RhythmRhythm

• Sound can add rhythm to a scene, either by Sound can add rhythm to a scene, either by accompanying or juxtaposed against accompanying or juxtaposed against movement on the screen.movement on the screen.

e.g. In the e.g. In the The Sweet Hereafter(1997The Sweet Hereafter(1997)two )two conversations overlap, joined in time, but conversations overlap, joined in time, but separated in onscreen space. separated in onscreen space.

• A A montagemontage of sounds can be orchestrated to of sounds can be orchestrated to create rhythm as in the opening scene of create rhythm as in the opening scene of Mamoulians’s Mamoulians’s Love Me Tonight(1932)Love Me Tonight(1932)

CharacterizationCharacterization

• All types of sound-dialogue, sound effects, All types of sound-dialogue, sound effects, music-can function as part of music-can function as part of characterization.characterization.

• Musical themes often identify characters.Musical themes often identify characters.

e.g. In Sam Mendes’s e.g. In Sam Mendes’s American American Beauty(1999Beauty(1999)an original theme helps )an original theme helps identify Lester’s (Kevin Spacey) longing identify Lester’s (Kevin Spacey) longing for a different life.for a different life.

ContinuityContinuity

• Sound can link one shot to the next, indicating Sound can link one shot to the next, indicating that the scene has not changed in either time or that the scene has not changed in either time or space.space.

• OverlappingOverlapping sound carries the sound from a sound carries the sound from a first shot over to the next before the sound of first shot over to the next before the sound of the second shot begins.the second shot begins.

e.g. Joel Coen’s e.g. Joel Coen’s The Man Who Wasn’t The Man Who Wasn’t There(2001)There(2001)has 13 of 15 shots linked by has 13 of 15 shots linked by overlapping, non-diegetic bits of a Beethoven overlapping, non-diegetic bits of a Beethoven piano sonata.piano sonata.

EmphasisEmphasis

• A sound can function as a punctuation A sound can function as a punctuation mark-when it accentuates and strengthens mark-when it accentuates and strengthens the visual image. It does not have to be a the visual image. It does not have to be a sledgehammer.sledgehammer.

e.g. In Peter Weir’s e.g. In Peter Weir’s Truman Show(1998Truman Show(1998), ), Truman Burbank (Jim Carrey) hears a Truman Burbank (Jim Carrey) hears a distinct sound of a sail piercing a dome.distinct sound of a sail piercing a dome.

This memorable sound creates the This memorable sound creates the realization that the horizon is fake.realization that the horizon is fake.

Sound in Sound in Citizen Kane (1941)Citizen Kane (1941)

• The 1930’s were the first decade of sound The 1930’s were the first decade of sound in the movies.in the movies.

• During that decade, Orson Welles During that decade, Orson Welles approached sound by approached sound by experimenting and experimenting and making things different.making things different.

• Welles, film’s first sound designer, created Welles, film’s first sound designer, created a a deep focus sounddeep focus sound for Kane. for Kane.

• Welles created a sound Mise-en-SceneWelles created a sound Mise-en-Scene

Analyzing SoundAnalyzing Sound

• Sound is manufactured creatively for the Sound is manufactured creatively for the purpose of telling a story.purpose of telling a story.

• What you hear in a film results from What you hear in a film results from choices made by directors and their choices made by directors and their collaborators during and after production.collaborators during and after production.

• You should be able to describe how sound You should be able to describe how sound in any movie either complements or in any movie either complements or detracts from the visual elements portrayed detracts from the visual elements portrayed onscreen.onscreen.