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Alam, Pandu Watu, Rangga Saptya Mohamad Permana, and Sri Seti Indriani. "Diegetic and nondiegetic sounds in film scoring of Pengabdi Setan film." ProTVF 7, no. 2 (September 30, 2023): 165. http://dx.doi.org/10.24198/ptvf.v7i2.47281.
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Background: This research examines the 2017 film Pengabdi Setan scoring function. Joko Anwar wrote and directed the film Pengabdi Setan, released on September 28, 2017. This film is a remake of a 1980 film of the same name. In this film, the score is essential for visually confirming symbols or incomplete messages. There are two types of sound: diegetic sound and non-diegetic sound. Purpose: This research aims to determine how diegetic and non-diegetic sound were used to create a horror atmosphere in the film Pengabdi Setan. Methods: The authors described the audio analysis results in the form of diegetic and non-diegetic sounds using a qualitative descriptive analysis. Documented assessment and observation were employed as data collection techniques. Results: The results indicate that infrasonic sound (infrasound) and sub-bass frequencies in the form of non-diegetic sounds emotionally impact audiences. The typical frequency is 31 Hz, and although it is inaudible to the human ear, the audience can sense the vibrations of this frequency. This frequency can typically only be perceived as a “chest rumble.” In general, both diegetic and non-diegetic sounds in the film Pengabdi Setan contribute to completing the defective message symbol. The combination of infrasonic sound effects, sub-bass, and musical composition validates the visual messages or symbols. Implications: This research can theoretically serve as a resource for future researchers interested in studying diegetic and non-diegetic sound in film. Directors and cinema sound engineers can use this research to construct diegetic and non-diegetic sound in their films, particularly horror films.
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Vani, Giovani Gio, and Dwinta Arswendah. "Penerapan Diagetic Sound Pada Film Dokudrama “Bondar Hatabosi”." ROLLING 6, no. 2 (November 8, 2023): 135. http://dx.doi.org/10.19184/rolling.v6i2.43685.
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The artwork "The Role of Sound in the Bondar Hatabosi Docudrama Film" aims to create a docudrama film that provides a reflection on how the importance of natural and environmental sounds in the form of culture in Luat Hatabosi village is especially able to shape the emotions of the audience who hear it. The creation of this film is in the docudrama genre because it tells a story based on a true story from historical re-enactment with elements of dramatization. For this reason, the use of real sound is very appropriate to the genre of this film, namely docudrama. The object of creating this work of art is the sounds of nature and the environment in the form of culture in Luat Hatabosi village so that it can play an important role in the docudrama film "Bondar Hatabosi", such as forming emotions in the audience. The audience's emotions in question, such as positive vibrations, relaxation, calm, and so on, are caused by the nature of natural sounds which are able to stimulate the brain in controlling human emotions. The concept for creating this work focuses on the diegetic sound aspect. Diegetic sound itself is all forms of sound contained in the story world of the film. Diegetic sound in films combines it into two forms, namely onscreen sound and offscreen sound. The sound on the screen is defined as all the sounds produced by the actors in the story and the objects in the frame. Meanwhile, offscreen sound is defined as all sound produced from outside the frame.
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Paletz, Gabriel M. "Writing sound in the screenplay: Traditions and innovations." Soundtrack, The 15, no. 1 (November 1, 2023): 61–75. http://dx.doi.org/10.1386/ts_00027_1.
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Despite the rich literature on both film sound and screenwriting, there is a paucity of practical advice in current Hollywood screenwriting guides on how to write sound into scripts. This essay encourages the work of screenwriters, screenwriting teachers, students and cinema scholars in two ways. It both reviews the traditions for integrating sound into screenplays and introduces innovations in the classical script format for writing sound. A sequence of off-screen sounds can convey a whole series of actions, while sounds in an outline or synopsis can structure an entire film narrative. As in past screenplays, sounds can again be written side by side in tandem with yet independently from images. Finally, the article makes original emendations to the classical master scene format for writing dominant sounds that fill a scene as well as indications for movie music. At a time when both film production and the screenplay itself are being transformed, this essay rejuvenates both film scholarship and practice by bridging historical traditions with practical innovations for screenwriting sound.
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Karaduman, Arzu. "Crystal sounds in contemporary film and TV." Soundtrack, The 14, no. 1 (June 1, 2023): 3–17. http://dx.doi.org/10.1386/ts_00018_1.
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At the core of Deleuze’s theorization of the time-image is the ‘crystal image’ that appears as a direct presentation of time in an indiscernibility of the actual and the present from the virtual in various forms. Lending his ears to cinema after the Second World War, Deleuze coins the term ‘sound-crystal’, but he neither sufficiently engages with it nor thinks about it beyond music. Turning to film sound scholarship or film philosophy is futile in a similar fashion. To address these gaps in Deleuze, film philosophy and sound in cinema, I listen carefully to a number of contemporary films and TV shows in which sound crystallization splits time in an indiscernibility of the perceived actual from the virtual sounds of recollections, dreams, hallucinations, fantasies and worlds. I argue that crystallization of sounds avoids an anthropocentric approach to understanding the relation between a sound and its source which cannot be claimed to ‘voice’ it.
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Rusinova, Elena A. "The sound space of the city as a reflection of ‘‘the spirit of the times’’ and the inner world of the film hero." Journal of Flm Arts and Film Studies 11, no. 1 (March 15, 2019): 15–26. http://dx.doi.org/10.17816/vgik11115-26.
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The theme of the artistic image of the city in film has been repeatedly considered in film studies from both historical and cultural perspectives. However, two aspects of the study of the theme remain virtually unexplored because they are associated with a professional analysis of such a specific area of filmmaking as sound directing. The first aspect is the role of the city in films as both visual and audio space; the second aspect is the significance of urban sounds in the creation of the inner world of a film character.
 This essay explores the director's vision of urban space and the possibilities of sound directing in the formation of the inner world of a character and his/her various mental conditions - through the use of sound textures of the urban environment. The author analyses several films about Georgia's capital Tbilisi, produced in different time periods. The vivid "sound face" of Tbilisi allows one to follow changes in the aesthetic approaches to the use of the city's sounds for the formation of the image of film characters in the cultural and historical context of particular films. The essay concludes that the urban space, with its huge range of sound phenomena, contributes to the formation of a polyphonic phonogram which could bring a film's semantics to higher aesthetic and intellectual levelsl.
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Zhang, Minglei. "Gone with the sound: critical perspectives on studying imaginability of American cinematic experience in the “sound” era, 1927-1935." Arts & Humanities Open Access Journal 5, no. 1 (March 17, 2023): 75–79. http://dx.doi.org/10.15406/ahoaj.2023.05.00190.
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This article explores the human-technology relationship during the transition from silent films to sound films in American history and analyzes how this specific technology has influenced film audiences’ experiences. The author revisits the importance of human-centered technology and uses the term “imaginability” to describe the likelihood for both spontaneous bodily responses and technologically cultivated thinking activities inspired by cinematic engagement. The article challenges the discourse of technology as progress while focusing on the audiences’ experience during their cinematic engagement. The author's hypothesis is that sound film provides a linear channel of synchronization and hence produces restrictions on the audience’s imagination by limiting their temporal and spatial sensibilities. This synchronized sound technology offers a streamlined audiovisual reality through matching sounds and images in real-time, leading to a shortened processing of images, sounds, and their interconnections. The transitions between filmmaking and cinematic presenting have also revolutionized theater design, leading to the liminality that describes the state of transitioning under this circumstance led by sound technology, which generates metrics, measuring how fast and how thoroughly technology conquers an outdated society by enforcing innovations. The article focuses on the interplay between the spectatorship that addresses the condition of viewing films and the sound consciousness led by the synchronized sound system as applied to filmmaking. The analysis of imaginability becomes measurable, descriptive, and referential. The author suggests that the preservation and scrutiny of silent films are urgent and necessary to recognize the values of silent film production and the audience’s cinematic experience during the silent film era.
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Luo, Yi, Jian Liu, Jiachang Zhang, Yu Xiao, Ying Wu, and Zhidong Zhao. "A wearable nanoscale heart sound sensor based on P(VDF-TrFE)/ZnO/GR and its application in cardiac disease detection." Beilstein Journal of Nanotechnology 14 (July 31, 2023): 819–33. http://dx.doi.org/10.3762/bjnano.14.67.
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This paper describes a method for preparing flexible composite piezoelectric nanofilms of P(VDF-TrFE)/ZnO/graphene using a high-voltage electrospinning method. Composition and β-phase content of the piezoelectric composite films were analyzed using X-ray diffraction. The morphology of the composite film fibers was observed through scanning electron microscopy. Finally, the P(VDF-TrFE)/ZnO/graphene composite film was encapsulated in a sandwich-structure heart sound sensor, and a visual heart sound acquisition and classification system was designed using LabVIEW. A heart sound classification model was trained based on a fine K-nearest neighbor classification algorithm to predict whether the collected heart sounds are normal or abnormal. The heart sound detection system designed in this paper can collect heart sound signals in real time and predict whether the heart sounds are normal or abnormal, providing a new solution for the diagnosis of heart diseases.
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Talijan, Emilija. "Introduction to Foley sound." Soundtrack, The 16, no. 1 (September 1, 2024): 3–10. http://dx.doi.org/10.1386/ts_00029_2.
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Foley sound effects – those sounds that are created in post-production through live performance and then added to the sound mix of films, television, video games and animation – are ubiquitous. But effective Foley should not be heard. It is one of those creative labours in the making of a film that, to be considered successful, must erase itself. While film studies has begun to redress theory and practice’s bias towards the visual, film sound studies has yet to sufficiently acknowledge this hidden body in the sound process and fully reckon with the individual contribution made by the Foley artist to cinematic expression and cinema’s capacity to represent the world in motion and the exertion of bodies on-screen. To the extent we consider sound cinematic, what does the Foley artist contribute when they supplement images of a rock, a chair, a phone with sound or pay attention to the way paper brushes wood, metal rattles against metal, sand pushes back against a finger? This introduction establishes how refocusing attention to Foley sound extends our understanding of cinema as a medium, as well as addressing the current cultural and scholarly ‘visibility’ of Foley sound. It outlines the way the issue seeks to open up new theoretical perspectives on Foley sound and explore its interdisciplinary potential for theories of the soundtrack and film theory more broadly.
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Kang, Hyo-wook. "A Study on the Interaction between Film Narrative and Sound Design." Korean Society of Human and Nature 5, no. 2 (December 31, 2024): 11–27. https://doi.org/10.54913/hn.2024.5.2.11.
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Film is a comprehensive art form composed of various elements such as acting, cinematography, music, sound, and lighting. Yet, from the perspective of visual art, it is clear that the picture remains the most central component of film. This is evidenced by the term “Silent Film,” used to describe works from the era when only visuals existed, underscoring the indispensable nature of the picture in cinema. As film developed over time, auditory elements like music and sound were integrated, enhancing the narrative delivery. Consequently, the film’s narrative has achieved greater clarity and expressiveness through the use of diverse sound design techniques. This paper explores the interaction between film narrative and sound design, focusing not merely on background music but on composed music and designed sound. It analyzes how the deliberate use of sound influences the film’s narrative, with case studies drawn from actual film scenes. When sound is presented without any accompanying visuals in the opening scene of a film, the audience is compelled to rely solely on sound to imagine the narrative. Even when such sound design is employed outside the opening scene, it not only evokes prior scenes but also enhances the audience’s immersion in a new narrative. Additionally, when the visuals in a scene are static, incorporating uniquely designed sounds that align with the intended narrative can lead the audience to envision spaces, characters, and objects that are not visually depicted, stimulating their imagination and anticipation. Depending on how sound is designed in a film, the audience can perceive the same scene either positively or negatively. This aspect serves as a direct medium for the filmmaker’s intended message to be conveyed to the audience, significantly influencing their reactions. Furthermore, by continuously designing both diegetic and non-diegetic sounds, the narrative that the audience comprehends can be expanded, a point that this study illustrates through various case examples. As opportunities to experience films through various forms of media have increased, countless pieces of content employing diverse techniques have been produced. However, a clear methodology for the use of film narrative and sound design has yet to be fully established. Therefore, it is hoped that similar case studies to this research will continue, paving the way for more systematic and comprehensive studies on this methodology.
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Baranowski, Andreas M., Rebecca Teichmann, and Heiko Hecht. "Canned Emotions. Effects of Genre and Audience Reaction on Emotions." Art and Perception 5, no. 3 (August 10, 2017): 312–36. http://dx.doi.org/10.1163/22134913-00002068.
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Laughter is said to be contagious. Maybe this is why TV stations often choose to add so-called canned laughter to their shows. Questionable as this practice may be, observers seem to like it. If such a simple manipulation, assumingly by inducing positive emotion, can change our attitudes toward the film, does the opposite manipulation work as well? Does a negative sound-track, such as screaming voices, have comparable effects in the opposite direction? We designed three experiments with a total of 110 participants to test whether scream-tracks have comparable effects on the evaluation of film sequences as do laugh-tracks. Experiment 1 showed segments of comedies, scary, and neutral films and crossed them with three sound tracks of canned laughter, canned screams, and no audience sound. Observers had to rate the degree of their subjective amusement and fear as well as general liking and immersion. The sound-tracks had independent effects on amusement and fear, and increased immersion when the sound was appropriate. Experiment 2 was identical, but instead of canned sounds, confederates of the experimenter enacted the sound-track. Here, the effects were even stronger. Experiment 3 manipulated social pressure by explicit evaluations of the film clips, which were particularly influential in comedies. Scream tracks worked as well as laugh tracks, in particular when the film was only mildly funny or scary. The information conveyed by a sound track is able to change the evaluation of films regardless of their emotional nature.
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Cumbow, Robert C., and William Johnson. "Film Sound." Film Quarterly 39, no. 2 (December 1985): 64. http://dx.doi.org/10.1525/fq.1985.39.2.04a00100.
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Cumbow, Robert C., and William Johnson. "Film Sound." Film Quarterly 39, no. 2 (December 1985): 64. http://dx.doi.org/10.2307/1212343.
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Napolin, Julie Beth. "Between Sound and Image." Film Quarterly 76, no. 3 (2023): 48–54. http://dx.doi.org/10.1525/fq.2023.76.3.48.
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In 1929, the “Empress of the Blues” Bessie Smith made her only known film appearance in a short, two-reel film by Dudley Murphy, St. Louis Blues, titled after the W.C. Handy song that Smith had made famous. One prefiguration of the music video medium, it was the first film to be made to a preexisting song. Sixty years later, the song moves into a third instantiation when Isaac Julien returns to a fragment of Smith’s film performance in his dreamy Looking for Langston. It situates Smith in the context of Black queer literary voicings and media history more generally, thus assuring a primary place for Smith in the history and theory of film. Taken together, these films acousmatic voices provide the material for an aesthetic theory of Black queer film as an ongoing, questioning encounter between sound and image, one where the otherworldly takes precedence over realism.
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Lehnert, Sigrun. "Filmgeräusch im Fokus." Kieler Beiträge zur Filmmusikforschung 18 (November 1, 2024): 35–63. http://dx.doi.org/10.59056/kbzf.2024.18.p35-63.
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Die Geschichte der Einbindung von Geräuscheffekten in Filme reicht bis in die frühen 1910er Jahre zurück, als Kinoorgeln stumme Filme mit Klängen und Pfeifen begleiteten. Mit der Weiterentwicklung des Kinos wurde der Filmsound auch dazu eingesetzt, um das Publikumsengagement zu intensivieren. Dieser Beitrag präsentiert ein didaktisches Konzept für Masterstudierende der Medienwissenschaft, das darauf abzielt, die Ursprünge und Produktionshintergründe von Filmtongestaltungen zu erkunden. Blended Learning, eine Kombination aus synchronen und asynchronen Elementen, wird als Modell für den umgedrehten Unterricht (Flipped Classroom) verwendet. Die Studierenden setzen sich mit der Filmgeschichte auseinander, insbesondere der Kino-Wochenschau, und konzentrieren sich auf Effekte von Filmsound und -musik. Dabei studieren sie eigenständig theoretische Kontexte, analysieren ausgewählte Filmausschnitte, beteiligen sich an kollaborativer Videoannotation und sammeln praktische Erfahrungen in der Klangproduktion. Praktische Workshops ermöglichen es den Studierenden, ihre eigenen Klanglandschaften zu erstellen, während geleitete Diskussionen ihr Verständnis für medientheoretische und filmgeschichtliche Aspekte vertiefen. Das vorgeschlagene Konzept fördert erlebnisorientiertes Lernen und Selbstkompetenz und trägt letztlich zu einem reflektierten Verständnis der Bedeutung und Wirkungen von Filmsound bei. The history of incorporating sound effects into films dates back to the early 1910s, when cinema organs accompanied silent films with noises and whistles. As cinema developed, film sound was also used to increase audience involvement. This article presents a didactic concept for Masters students in Media Studies that aims to explore the origins and production background of film sound design. Blended learning, a combination of synchronous and asynchronous elements, is used as a model for flipped classroom teaching. Students will study film history, in particular cinema newsreels, and focus on the effects of film sound and music. They independently study theoretical contexts, analyze selected film excerpts, participate in collaborative video annotation, and gain practical experience in sound production. Hands-on workshops enable students to create their own soundscapes, while guided discussions deepen their understanding of aspects of media theory and film history. The proposed approach fosters experiential learning and self-competence, ultimately contributing to a reflective understanding of the meaning and impact of film sound.
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Zovko, Aljoša. "The Interplay of Silence, Diegetic Sound and Music in Contemporary German Cinema." Hum, no. 25 (February 4, 2022): 58–66. http://dx.doi.org/10.47960/2303-7431.25.2021.58.
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Scholarly works on film sound are vastly outnumbered by works on film visual aspects. One reason for this discrepancy lies in the “hegemony of the visual”. Another may be the dominance of the visual in the cinema viewing experience, which results in our being naturally less attuned to how we are affected by the aural aspect. Nonetheless, the interaction of music, diegetic sound, and silence plays a vital role in achieving the director’s intention in creating a film and is crucial to establishing the bond between the film and its viewer. In his paper, the author shows, on the example of German contemporary film and TV series, that any analysis of film must examine the interaction of film music, dialogue, silence and diegetic sounds. The paper explores a specific approach to the sonic landscape in German film and TV series and raises questions to be pursued in further research on this topic. Keywords: film sound; film theory; German cinema; sound design; diegetic sound
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Noh, Shihun. "The Surreality of Soundscape in Luis Buñuel’s Film: Focusing on L'âge d'or." Korean Society of Culture and Convergence 45, no. 10 (October 31, 2023): 443–53. http://dx.doi.org/10.33645/cnc.2023.10.45.10.443.
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The purpose of this study is to examine the relationship between soundscapes and surrealist aesthetics in Buñuel's films, focusing on L'âge d'or. As a result of the examination, it can be seen that in this film music is used to express motifs of the film and paradoxically attack elements that hinder the realization of desire, and dialogue and other sound are used to reinforce the realness of visual images or to oppose the music. In addition, as a result of analyzing the soundscape composition of this film, we were able to identify the characteristics that most of the sounds in this film are everyday sounds, silence is used appropriately, and there is no inversion between music as the background and dialogue and other sound as the foreground. These soundscapes realize the aesthetics of the unconscious by expressing the ambiguity of dreams through metaphorical suggestion (music) or omission (silence) in this film, and create an aesthetics of “dépaysement” (unfamiliarity) by surrounding fantastic visual images with everyday sounds to induce disharmony. So, it can be said that these soundscapes are consistent with surrealist aesthetics.
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Riazantsev, Lev, and Valentyn Lievshakov. "Modern Technologies For Forming The Sound and Visual Film Image: Aspects of Interaction." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 6, no. 2 (October 20, 2023): 224–40. http://dx.doi.org/10.31866/2617-2674.6.2.2023.289309.
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The purpose of the article. The purpose of the article is to analyze modern technologies for creating a film’s sound and visual image and to reveal the core aspects of interaction in the process of creating an audiovisual product, to analyze the theory of sound, to study the process of film creation, and to reveal the methods used in cinema to form a film’s sound and visual image. Research methodology. The study used the methods of theoretical cognition, namely: analysis – to study the theory of sound and the process of film creation; synthesis – to reflect the interaction between the main elements of the film's sound and visual image; specification – to describe the periods that are crucial for the formation of the phenomenon of “image” in cinema; comparison – to characterize past and present experience in the process of forming the film's sound and visual image. Scientific novelty. For the first time, modern technologies for creating the sound and visual image of a film are analyzed and the main aspects of interaction in the formation of the phenomenon of “image” in cinema are revealed. The results of the study bring a new perspective on the relationship between sound theory and methods of recording and processing. The study focuses on modern sound and vision technologies, which are currently under-researched. Parallels are also drawn between the past and present experience of the process of forming the sound and visual image of a film. Conclusions. The role of sound and visual effects in films has been determined; the theory of sound and its classification has been considered; the process of filming has been analyzed; the most important aspects that should be paid attention to in order to record high-quality audio and video materials during the preparation of the film set and during the filming process have been identified; the interaction of the stages of forming the sound and visual image of a film in the context of using different types of sounds has been traced; it has been found that the use of different types of sound effects and visual elements depends on the genre of the film.
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Riazantsev, Lev, and Valentyn Lievshakov. "Modern Technologies for Forming the Sound and Visual Film Image: Aspects of Interaction." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 6, no. 2 (October 20, 2023): 224–40. https://doi.org/10.31866/2617-2674.6.2.2023.289309.
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<strong>The purpose of the article. </strong>The purpose of the article is to analyze modern technologies for creating a film's sound and visual image and to reveal the core aspects of interaction in the process of creating an audiovisual product, to analyze the theory of sound, to study the process of film creation, and to reveal the methods used in cinema to form a film's sound and visual image. <strong>Research methodology. </strong>The study used the methods of theoretical cognition, namely: analysis – to study the theory of sound and the process of film creation; synthesis – to reflect the interaction between the main elements of the film's sound and visual image; specification – to describe the periods that are crucial for the formation of the phenomenon of "image" in cinema; comparison – to characterize past and present experience in the process of forming the film's sound and visual image. <strong>Scientific novelty. </strong>For the first time, modern technologies for creating the sound and visual image of a film are analyzed and the main aspects of interaction in the formation of the phenomenon of "image" in cinema are revealed. The results of the study bring a new perspective on the relationship between sound theory and methods of recording and processing. The study focuses on modern sound and vision technologies, which are currently under-researched. Parallels are also drawn between the past and present experience of the process of forming the sound and visual image of a film. <strong>Conclusions. </strong>The role of sound and visual effects in films has been determined; the theory of sound and its classification has been considered; the process of filming has been analyzed; the most important aspects that should be paid attention to in order to record high-quality audio and video materials during the preparation of the film set and during the filming process have been identified; the interaction of the stages of forming the sound and visual image of a film in the context of using different types of sounds has been traced; it has been found that the use of different types of sound effects and visual elements depends on the genre of the film.
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Archer, Martin O. "Space Sound Effects Short Film Festival: using the film festival model to inspire creative art–science and reach new audiences." Geoscience Communication 3, no. 1 (June 18, 2020): 147–66. http://dx.doi.org/10.5194/gc-3-147-2020.
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Abstract. The ultra-low frequency analogues of sound waves in Earth's magnetosphere play a crucial role in space weather; however, the public is largely unaware of this risk to our everyday lives and technology. As a way of potentially reaching new audiences, SSFX (Space Sound Effects) made 8 years of satellite wave recordings audible to the human ear with the aim of using it to create art. Partnering with film industry professionals, the standard processes of international film festivals were adopted by the project in order to challenge independent filmmakers to incorporate these sounds into short films in creative ways. Seven films covering a wide array of topics and genres (despite coming from the same sounds) were selected for screening at a special film festival out of 22 submissions. The works have subsequently been shown at numerous established film festivals and screenings internationally. These events have attracted diverse non-science audiences resulting in several unanticipated impacts on them, thereby demonstrating how working with the art world can open up dialogues with both artists and audiences who would not ordinarily engage with science.
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Langkjær, Birger. "Making fictions sound real - On film sound, perceptual realism and genre." MedieKultur: Journal of media and communication research 26, no. 48 (May 17, 2010): 13. http://dx.doi.org/10.7146/mediekultur.v26i48.2115.
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This article examines the role that sound plays in making fictions perceptually real to film audiences, whether these fictions are realist or non-realist in content and narrative form. I will argue that some aspects of film sound practices and the kind of experiences they trigger are related to basic rules of human perception, whereas others are more properly explained in relation to how aesthetic devices, including sound, are used to characterise the fiction and thereby make it perceptually real to its audience. Finally, I will argue that not all genres can be defined by a simple taxonomy of sounds. Apart from an account of the kinds of sounds that typically appear in a specific genre, a genre analysis of sound may also benefit from a functionalist approach that focuses on how sounds can make both realist and non-realist aspects of genres sound real to audiences.
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MILLER, M. D., and E. KROTSCHECK. "THEORY OF THIRD SOUND AND STABILITY OF THIN 3He–4He SUPERFLUID FILMS." International Journal of Modern Physics B 21, no. 13n14 (May 30, 2007): 2091–102. http://dx.doi.org/10.1142/s021797920704349x.
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In this paper, we summarize the results of recent studies of third sound in thin, superfluid 3 He -4 He mixture films and the relation of the third sound spectrum to the question of the films' thermodynamic stability. We have considered films on several representative substrates: Nuclepore, glass, Li and Na . Our approach utilizes the variational, hypernetted chain/Euler-Lagrange (HNC–EL) theory as applied to inhomogeneous boson systems to calculate chemical potentials for both the 4 He superfluid film and the physisorbed 3 He . Numerical density derivatives of the chemical potentials lead to the sought-after third sound speeds. On all substrates, the third sound speeds show a series of oscillations as a function of film coverage that is driven by the layered structure of the 4 He film. We find that the effect on the third sound response of adding a small amount of 3 He to the 4 He film can depend sensitively on the particular 4 He film coverage. The third sound speed can either increase or decrease. In fact, in some regimes, the added 3 He destabilizes the film and can drive "layering transitions" leading to quite complicated geometric structures of the film in which the outermost layer consists of phase–separated regimes of 3 He and 4 He . Finally, we examine the range of applicability of the usual film–averaged hydrodynamic description. We find that at least up to film thicknesses of six liquid layers, there is no regime in which this hydrodynamic description is applicable.
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Zornado, Jack. "Hitchcock and the Internalization of Soviet Sound Theory." Film Matters 13, no. 1 (March 1, 2022): 148–57. http://dx.doi.org/10.1386/fm_00211_1.
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This article provides an overview of the trajectory of Alfred Hitchcock’s use of film sound as it relates to Soviet sound theory. I begin with his first use of sound in Blackmail (1929), tracing a line through his middle period with Strangers on a Train (1951), and end with a film from his late period, The Birds (1963). My analysis of Hitchcock’s use of sound in these films shows the influence of Soviet sound theory and its affects on his films and his own cinematic style.
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Ye, Lei. "Onomatopoeia, Sound Effects and Humour in Japanese Anime and US Animation Films and Television." Animation 18, no. 3 (November 2023): 273–91. http://dx.doi.org/10.1177/17468477231206681.
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Onomatopoeia are words signifying sounds by phonetically imitating or suggesting them. Research into the use of onomatopoeia in literature, language and comics has been rich and varied while the study of the use of onomatopoeia in film, television and their functions has so far been limited. This article focuses on two aspects: (a) the relationship between onomatopoeia and sound effects in US animation and Japanese anime; and (b) audiovisual humour caused by the use of onomatopoeia and sound effects in US animation and Japanese anime. The author introduces classifications and usage patterns of onomatopoeia in English and Japanese, and analyses the different types of onomatopoeia and sound effects in recent popular US animation films and TV, and in Japanese anime and their contributions to creating humour by applying humour theory (incongruity theory in particular). This study combines film analysis, soundtrack analysis, linguistic analysis and theories of humour, and will be of interest to students and scholars of film, sound, linguistics, psychology and other subjects interested in the study of onomatopoeia and audiovisual humour.
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Corbella, Maurizio, and Anna Katharina Windisch. "Sound Synthesis, Representation and Narrative Cinema in the Transition to Sound (1926-1935)." Cinémas 24, no. 1 (February 26, 2014): 59–81. http://dx.doi.org/10.7202/1023110ar.
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Since the beginnings of western media culture, sound synthesis has played a major role in articulating cultural notions of the fantastic and the uncanny. As a counterpart to sound reproduction, sound synthesis operated in the interstices of the original/copy correspondence and prefigured the construction of a virtual reality through the generation of novel sounds apparently lacking any equivalent with the acoustic world. Experiments on synthetic sound crucially intersected cinema’s transition to synchronous sound in the late 1920s, thus configuring a particularly fertile scenario for the redefinition of narrative paradigms and the establishment of conventions for sound film production. Sound synthesis can thus be viewed as a structuring device of such film genres as horror and science fiction, whose codification depended on the constitution of synchronized sound film. More broadly, sound synthesis challenged the basic implications of realism based on the rendering of speech and the construction of cinematic soundscapes.
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REDFERN, NICK. "Sound in Horror Film Trailers." Music, Sound, and the Moving Image: Volume 14, Issue 1 14, no. 1 (July 1, 2020): 47–71. http://dx.doi.org/10.3828/msmi.2020.4.
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In this paper I analyse the soundtracks of fifty horror film trailers, combining formal analysis of the soundtracks with quantitative methods to describe and analyse how sound creates a dominant emotional tone for audiences through the use of different types of sounds (dialogue, music, and sound effects) and the different sound envelopes of affective events. The results show that horror trailers have a three-part structure that involves establishing the narrative, emotionally engaging the audience, and communicating marketing information. The soundtrack is organised in such a way that different functions are handled by different components in different segments of the soundtrack: dialogue bears responsibility for what we know and the sound for what we feel. Music is employed in a limited number of ways that are ironic, clichéd, and rarely contribute to the dominant emotional tone. Different types of sonic affective events fulfil different roles within horror trailers in relation to narrative, emotion, and marketing. I identify two features not previously discussed in relation to quantitative analysis of film soundtracks: an affective event based on the reactions of characters in horror trailers and the presence of nonlinear features in the sound design of affective events.
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Pinheiro, Sara. "Acousmatic Foley: Son-en-Scène." International Journal of Film and Media Arts 7, no. 2 (December 13, 2022): 125–48. http://dx.doi.org/10.24140/ijfma.v7.n2.07.
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“Acousmatic Foley” is practice-based research on sound dramaturgy stemming from musique concrète and Foley Art. This article sets out a theory based on the concept of “son-en-scène”, which forms the sonic content of the mise-en-scène, as perceived (esthesic sound). The theory departs from the well-known features of a soundscape (R. M. Schafer, 1999) and the listening modes in film as asserted by Chion (1994), in order to arrive at three main concepts: sound-prop, sound-actor and sound-motif. Throughout their conceptualization, the study theorizes a sonic dramaturgy that focuses on the sounds themselves and their practical influence on film's story-telling elements. For that, it conveys an assessment of sound in film-history based on the “montage of attractions” and foley art, together with the principles of acousmatic listening. This research concludes that film-sound should be to sound designers what a “sonorous object” is to musique concrète, albeit conveying all sound’s fictional aspects.
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Tieber, Claus, and Anna K. Windisch. "Musical moments and numbers in Austrian silent cinema." Soundtrack 12, no. 1 (November 1, 2020): 7–20. http://dx.doi.org/10.1386/ts_00009_1.
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Although the film musical as a genre came into its own with the sound film technologies of the late 1920s and early 1930s, several characteristic features did not originate solely with the sound film. The ‘musical number’ as the epitome of the genre, can already be found in different forms and shapes in silent films. This article looks at two Austrian silent films, Sonnige Träume (1921) and Seine Hoheit, der Eintänzer (1926), as case studies for how music is represented without a fixed sound source, highlighting the differences and similarities of musical numbers in silent and sound films. The chosen films are analysed in the contexts of their historical exhibition and accompaniment practices, Austria’s film industry as well as the country’s cultural-political situation after the end of the monarchy. These two examples demonstrate that several characteristics of the film musical are based on the creative endeavours made by filmmakers during the silent era, who struggled, failed and succeeded in ‘visualizing’ music and musical performances in the so-called ‘silent’ films. In reconstructing their problems and analysing their solutions, we are able to gain a deeper understanding of the nature of musical numbers during the silent era and on a more general level.
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Jackson, Brad. "Sound Anchors." Projections 16, no. 3 (December 1, 2022): 61–82. http://dx.doi.org/10.3167/proj.2022.160303.
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When watching a film, we engage with much more than combinations of moving images. We combine what we see with what we hear, and what we hear often aids in the construction of a story. Although some researchers endorse the ways sound guides viewer expectations, there is still a need to explain the ways images, sounds, and other available cinematic modes interact to construct meaning. This article engages with research on embodiment, cognition, and multimodal artifacts to reveal how sound aids in the construction of film narratives by focusing on examples where sounds take the primary role in constructions of narrative meaning. Additionally, by discussing recent theories on cognition and multimodality, this article shows how sounds can evoke conceptual and narrative information in ways that stabilize our understanding of cinematic representations through the joint contribution of all of the available modes.
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Riazantsev, Lev, and Yevheniia Yevdokymenko. "Managing Stages of Film Sound Production." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, no. 2 (December 24, 2021): 244–51. https://doi.org/10.31866/2617-2674.4.2.2021.248702.
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<em>The purpose of this article </em>is to analyse the main stages of sound production in film. The study aims to establish the main principles of film sound design, prove the importance of a rational approach to each stage in the context of their impact on the results of the study, and determine the role of sound in film dramaturgy. <em>The research methodology </em>is based on theoretical methods, namely an analysis of information sources, comparison of Ukrainian and foreign approaches to filmmaking, generalisation and systematisation of practical knowledge and experience of sound production in film from the first sound film to the present day. <em>Scientific novelty. </em>The management structure of sound production’s modern stages and their impact on creative and technical components of film soundtracks is analysed in detail for the first time. <em>Conclusions. </em>The article analyses the stages of sound production in film and establishes the main principles of sound design by studying Ukrainian and foreign approaches to creating sound in the film. The author summarises the rational approach to each stage in the context of their impact on the results of the study and examines the role of sound in film dramaturgy.
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Nożyński, Szymon. "Akuzmatyczność filmowych efektów dźwiękowych. Medialna mistyfikacja foley w kontekście sound designu." Przegląd Kulturoznawczy, no. 4 (50) (December 30, 2021): 715–28. http://dx.doi.org/10.4467/20843860pk.21.049.14966.
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Acousmaticity of Film Sound Effects: Media Mystification of Foley in the Context of Sound Design The text is about the foley profession, an important specialty performed as part of film sound design, at the post-production stage. What’s important here is both, the foley artist’s body, which becomes an instrument, and the ontology of created sounds, which are inserted into the finished film and synchronized with the picture. The author wonders if there is still a place for foley artists in the digital reality and common computerization of work. But the most important issue concerns the nature of sounds themselves, in the context of their production, acousmatics and the ubiquitous sound design. What is the sound implemented into the picture, does the picture give credence to the sound, even though the sound is “substituted” because it is produced in the studio? The situation is debatable, in the context of acousmatic listening (i.e. without the context of the source), because the picture provides a substitute context for the sound, and the viewer (listener) accepts this audio-visual relationship without reservation (as long as the sound is prepared well). Especially since by going to the cinema, the viewer agrees to a form of manipulation in the name of entertainment. Usually he or she is not aware of the mystification in the field of sound, which - within the oculocentric perception ‒ for him or her is only a complement to the picture, although, in fact, it plays a fundamental role in understanding what is happening on the screen. Other topics discussed in the text concern the communicativeness of sound and the historical background of the foley profession. Also important are the interrelations between foley and sound design and other areas of sound activity, as part of the preparation of all the audio layers of a film.
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Efimova, Natalia Nikolaevna. "Sound Editing in Screen Works." Journal of Flm Arts and Film Studies 7, no. 2 (June 15, 2015): 73–81. http://dx.doi.org/10.17816/vgik7273-81.
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The article pinpoints peculiarities of sound editing in movies basing on analysis of partitions of popular films of40-90s; the most frequent principles of sound track arrangement are examined for the first time. The stuff selection is conditioned by measure of popularity of screen works in question. Due to talent of such famous composers as I. Dunaevsky, S. Prokofiev, A. Khachaturian, A. Pakhmutova, A. Petrov et al and their ability to hear plastic imagery, to comprehend filmic atmosphere music plays an extremely important part in these films. Many songs from these films are still in circulation even now. Thorough sound design and editing are of great significance in film production. The author comes to conclusion, that rondo as a musical form and leit-motif as a principle of musical stuff development form a dominant principle of sound stuff arrangement. The two fundamentally tighten the structure of the film. Since original music affords to accentuate sound effects in the most adequate way, it seems perfect to call to a composer for creating original music. The author assumes, that the choice of sound arrangement principle in cinema depends on deliberate conception of the film, wrought out by the helmer, composer, and supervising sound editor. The screen works property is closely bound with attentive partition editing.
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Koneva, Maria Nikolayevna. "Planning Element as a Narrative Method in Moulding of Audiovisual Imagery in Documentaries." Journal of Flm Arts and Film Studies 6, no. 3 (September 15, 2014): 126–33. http://dx.doi.org/10.17816/vgik63126-133.
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The article is devoted to the artistic relevance of sound design as one of the most significant elements of film, specifically, in documentary. The author explores the phenomenon emerging at the interface of various genres and tendencies in film art focusing mainly on the auteurs conception realized through such notions as sound scale, depth and prominence of soundy.
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Altman, Rick. "Establishing Sound." Cinémas 24, no. 1 (February 26, 2014): 19–33. http://dx.doi.org/10.7202/1023108ar.
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The history of film sound has usually been configured as a series of technological upheavals. In every case, the story has been told through technological innovations, as if changes in technology were alone responsible for the development of new sound strategies. The approach offered here differs markedly from these previous treatments of sound. Instead of concentrating on technological shifts, this article stresses technical decisions made by the soundmen and directors responsible for developing Hollywood’s standard approach to sound. Through succinct analysis of two key films, The First Auto (Warner, 1927) and It Happened One Night (Columbia, 1934), along with briefer treatment of The Big Trail (Fox, 1930), a distinction is made between “shot-by-shot” treatment of sound and “scene-by-scene” treatment of sound. The systematic use of sound in It Happened One Night to establish and maintain a coherent sense of place gives rise to recognition of the increasingly common use of what the article terms “establishing sound.” Parallel to Hollywood’s familiar technique of introducing each scene with an “establishing shot,” the use of establishing sound offers filmmakers an additional method of locating auditors and maintaining their relationship to the film.
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Tatnell, David M., Mark S. Heath, Steven P. Hepplestone, Alastair P. Hibbins, Samuel M. Hornett, Simon A. R. Horsley, and David W. Horsell. "Coupling and confinement of current in thermoacoustic phased arrays." Science Advances 6, no. 27 (July 2020): eabb2752. http://dx.doi.org/10.1126/sciadv.abb2752.
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When a medium is rapidly heated and cooled, heat transfers to its surroundings as sound. A controllable source of this sound is realized through joule heating of thin, conductive films by an alternating current. Here, we show that arrays of these sources generate sound unique to this mechanism. From the sound alone, we spatially resolve current flow by varying the film geometry and electrical phase. Confinement concentrates heat to such a degree that the film properties become largely irrelevant. Electrical coupling between sources creates its own distinctive sound that depends on the current flow direction, making it unusually sensitive to the interactions of multiple currents sharing the same space. By controlling the flow, a full phased array can be created from just a single film.
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Stutterheim, Kerstin. "Sound Dramaturgy." International Journal of Film and Media Arts 8, no. 3 (December 29, 2023): 59–73. http://dx.doi.org/10.24140/ijfma.v8.n3.04.
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Sound dramaturgy as part of the aesthetic design of documentary films is invisible but most relevant, although often overlooked. The chapter gives a short introduction to dramaturgy and the importance of sound dramaturgy as most impactful for documentary film productions. The main discussion focusses on sound dramaturgy in films as The End Of Time (Mettler); The Island Of The Hungry Ghosts (Brady 2018), The Wale And The Raven (Leuze 2019) and El Sembrador de Estrellas (The Sower of Stars) by Lois Patiño. An analysis and discussion of the components of sound and music as part of the overall dramaturgical concept, the narrative flow, and their contribution to the final production and its sensual impact on the audience will allow a more informed understanding of such approach.
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Prince, Stephen. ": Sound-on-Film: Interviews with Creators of Film Sound . Vincent LoBrutto." Film Quarterly 49, no. 1 (October 1995): 64. http://dx.doi.org/10.1525/fq.1995.49.1.04a00300.
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Zhang, Tingying, Jiyang Zhang, Pengxuan Zheng, Hong Hou, and Ying Xu. "Study on Sound Absorption Properties of Polyvinyl Chloride (PVC) Film Multicavity Structure Materials." Shock and Vibration 2024 (April 2, 2024): 1–16. http://dx.doi.org/10.1155/2024/3820651.
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Since the development of industry, sound absorption and noise reduction have gradually become an urgent problem to be solved. Lightweight polymer film materials are very effective in response to sound waves, and sound waves can easily cause vibration of the film, which can convert sound energy into vibration and film friction to achieve sound absorption. The application conditions of the film material are very harsh, that is, a support body is required to fix the film and the film needs to be tensioned. The film is very thin and easy to damage. The idea of this research is to transform the film into a bubble structure and use a large number of film bubbles to form a cavity structure material. As a unit of the sound absorption structure, bubbles can avoid damage to the film. In this paper, commercial polyvinyl chloride film bubble materials are used to prepare two kinds of film multicavity structure materials, and the sound absorption performance of this film multicavity structure material is studied. The research results show that this film multicavity structure material has very excellent broadband sound absorption performance, which changes the narrow band sound absorption properties of the usual film single cavity. The average sound absorption coefficient can reach 0.84 in frequency range from 500 Hz to 6400 Hz. This structural material has a single peak sound absorption curve at the middle and low frequency bands, which is the characteristic of resonance sound absorption. And at the middle and high frequency bands, it exhibits the characteristics of broadband sound absorption. The film multicavity structure material has both cavity sound absorption and broadband sound absorption characteristics.
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Papchenko, Valerii, and Vladyslav Silin. "Sound in Modern Screen Discourse." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 2, no. 2 (December 18, 2019): 200–207. https://doi.org/10.31866/2617-2674.2.2.2019.185710.
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The purpose of the study is to identify the means and methods of introducing new technologies to provide the screen arts with sound and sound effects. The methodology of the study implies the use of a general scientific approach; comparative and historical methods are also applied. The novelty of the study is that: a) the historical aspects of the formation and development of sound systems in cinema are analyzed, b) the peculiarities of the creative approach of cinema sound directors to sound recording are analyzed. Conclusions. The study found that in order to form an effective and purposeful impact on the perception of the film viewer, the sound engineer must not only have a sophisticated hearing and developed artistic taste, but also profoundly possess the technological aspects of creating new sounds (sound effects), as well as ways to combine them realistic sounds – language, music, noise. It is shown that with the introduction of multichannel recording / reproduction of sound into the practice of film production, it became possible not only the localization of sound in the screen space, but also the movement of sound near the viewer.
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Pinheiro, Sara. "Acousmatic Foley: Son-en-Scène." International Journal of Film and Media Arts 7, no. 2 (December 13, 2022): 125–48. https://doi.org/10.24140/ijfma.v7.n2.07.
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“Acousmatic Foley” is practice-based research on sound dramaturgy stemming from <em>musique concrète</em> and Foley Art. This article sets out a theory based on the concept of “son-en-scène”, which forms the sonic content of the mise-en-scène, as perceived (esthesic sound). The theory departs from the well-known features of a soundscape (R. M. Schafer, 1999) and the listening modes in film as asserted by Chion (1994), in order to arrive at three main concepts: sound-prop, sound-actor and sound-motif. Throughout their conceptualization, the study theorizes a sonic dramaturgy that focuses on the sounds themselves and their practical influence on film's story-telling elements. For that, it conveys an assessment of sound in film-history based on the “montage of attractions” and foley art, together with the principles of acousmatic listening. This research concludes that film-sound should be to sound designers what a “sonorous object” is to <em>musique concrète, </em>albeit conveying all sound’s fictional aspects.
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Hill, James W., and Eugene N. Finley. "Sound mixing system for film sound editing." Journal of the Acoustical Society of America 81, no. 1 (January 1987): 211. http://dx.doi.org/10.1121/1.394977.
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MacDonald, Shana. "Voicing Dissonance." Feminist Media Histories 1, no. 4 (2015): 89–107. http://dx.doi.org/10.1525/fmh.2015.1.4.89.
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This article examines how sound was used as an effective tool of formal resistance in the work of influential feminist filmmakers, Carolee Schneemann (United States), Gunvor Nelson (Sweden), and Joyce Wieland (Canada). While their work differs in both aesthetic approach and thematics, their strategic use of sound as a point of disruption within their early films set an important standard for future feminist experimental film practice. The article outlines how each filmmaker constructed a dialectical relationship between image and sound that often challenged viewers. Each produced defamiliarized landscapes out of domestic spaces commonly overcoded by gendered systems of representation, including the kitchen, the home, and the garden. Furthermore, each film offered alternative forms for articulating women's subjectivity that challenged the roles made available to them during the 1960s. Through close readings of Wieland's film Water Sark (1965), Schneemann's film Plumb Line (1968–71), and Nelson's film My Name Is Oona (1969), the article demonstrates how each artist advanced a critical politics through sound-image dissonance.
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Malekpour, Miniature. "The Cultural Dialogue of Fidelity and Rendering in the Music of Googoosh in Hamsafar (1975)." Resonance 3, no. 4 (2022): 379–93. http://dx.doi.org/10.1525/res.2022.3.4.379.
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This study examines the role of sound and the cultural dialogue of “transnational status” in pre-revolutionary Iranian cinema, and more specifically, in the film-Farsi period. This study contributes to the literature because it mainly investigates how gender consciousness was promoted through the music soundscape in film-Farsi. The case study used to analyze and dissect the relationship—or rather, the borders and boundaries between the cultural dialogue of sound and music in film-Farsi—is the 1975 film Hamsafar (Fellow Traveler), directed by Masoud Asadollah. This paper will be of interest to film scholars and enthusiasts because Islamic feminism was infused in the “westoxification” and modernity of the powerful technique shaped by the soundtracks of films made before the Islamic revolution in 1979, especially by the voice and sound of Googoosh in the film Hamsafar.
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Pope, Norris. "Film History as Film Stock History: American Production Choices, 1937–1940." Film History: An International Journal 35, no. 2 (June 2023): 72–94. http://dx.doi.org/10.2979/fih.00004.
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ABSTRACT: This essay examines the cinematic possibilities and reception of an important group of 35mm fine-grain, black-and-white, negative film stocks introduced in America in the period from 1937 to 1940. These new stocks included camera stocks, sound-recording stocks, duplicating stocks, and release-print stocks. All these new stocks were unprecedented in their ability to combine faster emulsion speeds with impressively fine grain—innovations in film manufacture that contributed significantly to improved images and sound quality in black-and-white theatrical films.
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Kattelman, Beth. "The sound of evil: How the sound design of Hereditary manifests the unseen and triggers fear." Horror Studies 13, no. 1 (April 1, 2022): 133–48. http://dx.doi.org/10.1386/host_00050_1.
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This article examines the soundtrack and score for Ari Aster’s 2018 film Hereditary, illustrating how the sound design heightens the film’s emotional and psychological impact by delivering unseen elements of the narrative auditorily and through its inclusion of sonic elements that can directly affect audience members physiologically. Hereditary’s narrative is strongly supported by musician Colin Stetson’s evocative score, which relies heavily upon his ability to coax unusual sounds from reed instruments by using uncommon fingerings, accompanying vocalizations, percussive key striking and circular breathing. After a brief synopsis and examination of the film’s themes, the article delves into particular elements that make Hereditary’s soundscape so effective, including the Shepard tone, infrasound, subliminal and corporeal sounds, and the use of silence, exploring in-depth how the sound design supports and enriches the film by building tension, enhancing dread, triggering fear and delivering unseen narrative information in a shorthand way. The article also has a wider application in that it discusses how the critical-yet under-theorized element of sound design is crucial to horror entertainments’ ability to create affect in a variety of ways and shows how the sonic components used in Hereditary have a demonstrated efficacy as shown by their use in a wide variety of horror films and thrillers.
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Yin, Xiaokai, Yongchao Xu, and Hongyu Cui. "Research on Low Frequency Sound Insulation Properties of Membrane-Type Acoustic Metamaterials." IOP Conference Series: Materials Science and Engineering 1210, no. 1 (November 1, 2021): 012001. http://dx.doi.org/10.1088/1757-899x/1210/1/012001.
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Abstract To solve the problem of low-frequency noise control in ship cabins, a new membrane-type acoustic metamaterial (MAM) with bulges on the surface of thin films is designed based on the characteristics of lightweight and low-frequency sound insulation of membrane-type acoustic metamaterials. The sound structure coupling module of COMSOL multiphysical field coupling software is used to analyse the sound insulation performance of MAMs. The sound insulation properties of the additional mass film and self-similar fractal convex structure are further discussed. The metamaterial structure studied in this paper has a better sound insulation effect than ordinary film, which provides strong technical support for ship cabin noise control.
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Riazantsev, Lev. "The Influence of Sound Technology on the Formation of the Musical Film." Bulletin of KNUKiM. Series in Arts, no. 39 (December 10, 2018): 64–70. https://doi.org/10.31866/2410-1176.39.2018.153657.
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The purpose of the article is to analyze the influence of sound technology on the formation of the musical film. The research methodology involved the use of audiovisual analysis of the first musical films, which allowed for understanding the value of sound technology in the establishment of the musical film. The scientific novelty of the work lies in the strict analysis of the development of the first sound technology and revealing its influence on the formation of the musical film. Conclusions. The advent of sound into cinematography led to the destruction of the established ideas about the artistic principles of silent cinema. This incited the search for new forms of visual organization of the material naturally associated with the characteristics of sound cinema: the construction of the set-up and frame composition, camera movement, the new understanding of film editing and its rhythm. In the movie “42nd Street” (1933), at the shooting, the method called “lip-syncing” was used for the first time. It is used today when shooting musical and dance scenes, as well as filming concerts and musical performances. Only through the development of sound technology were the basic artistic principles of creating a musical film formed.
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Scotto le Massese, Audrey. "Sound and Perception in Ridley Scott’s Blade Runner (1982)." Arts 13, no. 5 (October 5, 2024): 154. http://dx.doi.org/10.3390/arts13050154.
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This paper discusses the renewal of the conception of film sound and music following the technological advances of the late 1970s. It analyses the ways in which film sound and music freed themselves from traditional uses and became elements to be designed creatively. The soundtrack composed by Vangelis for Blade Runner (1982) is exceptional in this regard: produced in parallel to the editing of the film, it forged an intimate connection between sound and image. Through the method of reduced listening put forward by Michel Chion in Audio-Vision (2019), this paper scrutinizes the specific ways in which sound shapes the perception of the image and narrative in Blade Runner. The first part of this paper analyses how sounds come to replace music to characterize moods and atmospheres. Ambient sounds create a concrete, sonically dense diegetic world, while music is associated with an abstract, extra-diegetic world where spectators are designated judges. This contrast is thematically relevant and delineates the struggle between humans and replicants; sound and music are used for their metaphorical implications rather than in an effort for realism. The second part discusses the agency of characters through the sonorousness of their voices and bodies. Intonations, pronunciation, and acousmatic sounds anchor characters’ natures as humans or replicants to their bodies. Yet, these bodies are revealed to be mere vessels awaiting definition; in the third part, we explore how sound is used to craft synaesthetic depictions of characters, revealing their existence beyond the human/replicant divide.
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Robinson, Kelly. "An Adaptable Aesthetic: Theodor Sparkuhl's Contribution to Late Silent and Early Sound Film-making at British International Pictures, 1929–30." Journal of British Cinema and Television 17, no. 2 (April 2020): 172–90. http://dx.doi.org/10.3366/jbctv.2020.0518.
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The German cinematographer Theodor Sparkuhl worked at Elstree from 1929 to 1930. Accounts of this period in Britain have often emphasised the detrimental effects of the arrival of the sound film in 1928, how it sounded the death knell of film as an international medium and how the film industry struggled to adapt (economically, technically, aesthetically). However, this article shows that the international dimension of the film industry did not disappear with the coming of sound and British International Pictures (BIP) was an exception to what Robert Murphy has called the ‘catalogue of failure’ during this turbulent period in British film history. Sparkuhl indisputably contributed to this achievement, working as he did on eight feature films in just two years from around July 1928 to April 1930, as well as directing several BIP shorts. Sparkuhl's career embodies the international nature of the film industry in the 1920s and 1930s. In Germany he moved within very different production contexts, from newsreels to Ufa and the Großfilme; in Britain from big-budget films aimed at the international market to low-scale inexpensive films at BIP. As what Thomas Elsaesser has called an ‘international adventurer’, Sparkuhl cannot be contained within any single national cinema history. The ease with which he slipped in and out of different production contexts demonstrates not just his ability to adapt but also the fluidity between the different national industries during this period. In this transitional phase in Britain, Sparkuhl worked on silent, part sound and wholly sound films, on films aimed at both the international and the indigenous market, and in genres such as the musical, the war film and comedy. The example of Sparkuhl shows that German cameramen were employed not only for their aesthetic prowess but also for their efficiency and adaptability.
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Griffith, Frank, and David Machin. "Communicating the ideas and attitudes of spying in film music: A social semiotic approach." Sign Systems Studies 42, no. 1 (May 26, 2014): 72–97. http://dx.doi.org/10.12697/sss.2014.42.1.04.
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Taking the example of two 1960s popular spy films this paper explores how social semiotics can make a contribution to the analysis of film music. Following other scholars who have sought to create inventories of sound meanings to help us break down the way that music communicates, this paper explores how we can draw on the principles of Hallidayan functional grammar to present an inventory of meaning potentials in sound. This provides one useful way to describe the semiotic resources available to composers to allow them to communicate quite specific ideas, attitudes and identities through combinations of different sounds and sound qualities, by presenting them as systems of meaning rather than as lists of connotations. Here we apply this to the different uses of music and sound in Dr No and The Ipcress Files which allows us to show how we can reveal different ideologies of spying.
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Riazantsev, Lev, and Yevheniia Yevdokymenko. "Managing Stages of Film Sound Production." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, no. 2 (December 24, 2021): 244–51. http://dx.doi.org/10.31866/2617-2674.4.2.2021.248702.
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The purpose of this article is to analyse the main stages of sound production in film. The study aims to establish the main principles of film sound design, prove the importance of a rational approach to each stage in the context of their impact on the results of the study, and determine the role of sound in film dramaturgy. The research methodology is based on theoretical methods, namely an analysis of information sources, comparison of Ukrainian and foreign approaches to filmmaking, generalisation and systematisation of practical knowledge and experience of sound production in film from the first sound film to the present day. Scientific novelty. The management structure of sound production’s modern stages and their impact on creative and technical components of film soundtracks is analysed in detail for the first time. Conclusions. The article analyses the stages of sound production in film and establishes the main principles of sound design by studying Ukrainian and foreign approaches to creating sound in the film. The author summarises the rational approach to each stage in the context of their impact on the results of the study and examines the role of sound in film dramaturgy.