In the film 'Be Kind Rewind' directed by Michel Gondry sound effects are widely used to naturalise the setting and allow us to be completely immersed in what is happening. Although these are pre-recorded, they give a sense of realism to what we are seeing. This is because they are predominately diegetic sounds, meaning they have a source from something we are seeing on the screen, "But sound effects appear unmanufactured, even accidental. This sense of naturalness is ironic because the sound texture of a film is so deliberately crafted..." (Corrigan and White, 201) An example of this in the film 'Be Kind Rewind' is when Jerry seeks to sabotage a power station and ends up heavily electrocuting himself. The sound effects in this scene consist of the sound of electricity as we see Jerry being suspended in the air also by the electricity. Although we know this is not possible we know that the cause of him being suspended is due to the electricity due to the sound effects. This is because we are hearing the sound that we would expect to hear while seeing someone be electrocuted, "...these effects generally conform to our expectations of movie sounds." (Corrigan and White, 201) We know that the scene in it's nature is unrealistic, however the sound effects naturalise what is happening. This works in unison with what we are seeing to fully draw us in and allow us to be more a part of the film, If the sound and what is happening is out of sync we would be focussing more on that that on what is happening and that would only serve to distance us from the film rather than include us further. Since sound effects are used to naturalise settings this would prove to be counter productive. "Sound effects, like visual effects, draw in viewers" (Corrigan and White, 202) Sound effects are not only limited to the extreme ones such as the sound of electricity, things such as footsteps, dogs barking, the rustle of clothing are all part of the sound effects and are not even recorded at the same time as dialogue in the film, they are added later by the foley artist. This is the case in all movies, these are the sound effects that we are less likely to notice as we associate with them so well, "A spaceship that blows up in outer space will usually produce a colossal bang even though in fact there is no sound in space." (Corrigan and White, 201) In Be Kind Rewind however, sound effects are most notable in the way that they make the most odd and far fetched situations appear almost normal. The key to sound effects presenting a more natural situation is predominantly all due to the synchronisation of the sound effects to what is happening.
Monday 27 April 2015
Sound Effects in Be Kind Rewind
How does Be Kind Rewind effectively use sound effects to enhance the viewers experience?
Effects of sound in The Grand Budapest Hotel
How is sound in The Grand Budapest Hotel different from sound in other films?
"Movies of every genre-westerns, disaster films, science fiction films-relied on music from the beginning. Often this music contributes to categorizing such films as genre films." (Corrigan and White, 196) Throughout most films, the music that is played corresponds to the scene that it is being played in, however, in the film 'The Grand Budapest Hotel' directed by Wes Anderson it is not only the current scene that defines the type of music that is played but also that movie as a whole. By this I mean that the music in this film is different from most other music played in movies, it still fits the purpose of deepening emotional response, however, it carries a kind of distinct Wes Anderson 'feel' about it that can be seen throughout many of his films. This 'feel' is unconventional, fast paced, and at times even comical and matches the form of his films in general which also follow this pattern, "The conventions of musical scoring, composition, orchestration, and mixing contribute to a particular kind of experience at the movies." (Corrigan and White, 196) A scene in the film which shows this best is the scene of Jopling's death. In this scene, Jopling is standing over Gustave hanging off a cliff while he stamps at the ground to loosen it and cause Gustave to fall. The music here is juxtaposed to the scene as it is somewhat reserved, while Gustave faces impending death. However, Zero comes up behind Jopling and forces him off the cliff. The music then picks up and is back to the fast paced, upbeat style as usual. The music in its form is different to that of other films, as that is linked to the general style associated with Wes Anderson. We are able to notice a reoccurring theme of speed which is accentuated also through the cinematography, tracking and panning shots ect. The music in function however, serves the same purpose as other films in the way that it engages the audience, evokes emotion and makes the scene more interesting as a whole. "Music is often used to carry a film's emotion. Dialogue and action fall short in their capacity to convey not only particular feelings but also the experience of feeling itself" (Corrigan and White, 199). In the film 'The Grand Budapest Hotel' this is exactly what is done. The dialogue and action don't so much fall short but instead work in unison with the music to create the full film experience. "We are aware that the practice of scoring films with music that has no source in the story violates verisimilitude, and yet we readily accept this convention." (Corrigan and White, 196) This means that we know that the non-diegetic music has no source in the film, however, it enhances our experience emotionally and we therefore benefit from it in our viewing experience.
"Movies of every genre-westerns, disaster films, science fiction films-relied on music from the beginning. Often this music contributes to categorizing such films as genre films." (Corrigan and White, 196) Throughout most films, the music that is played corresponds to the scene that it is being played in, however, in the film 'The Grand Budapest Hotel' directed by Wes Anderson it is not only the current scene that defines the type of music that is played but also that movie as a whole. By this I mean that the music in this film is different from most other music played in movies, it still fits the purpose of deepening emotional response, however, it carries a kind of distinct Wes Anderson 'feel' about it that can be seen throughout many of his films. This 'feel' is unconventional, fast paced, and at times even comical and matches the form of his films in general which also follow this pattern, "The conventions of musical scoring, composition, orchestration, and mixing contribute to a particular kind of experience at the movies." (Corrigan and White, 196) A scene in the film which shows this best is the scene of Jopling's death. In this scene, Jopling is standing over Gustave hanging off a cliff while he stamps at the ground to loosen it and cause Gustave to fall. The music here is juxtaposed to the scene as it is somewhat reserved, while Gustave faces impending death. However, Zero comes up behind Jopling and forces him off the cliff. The music then picks up and is back to the fast paced, upbeat style as usual. The music in its form is different to that of other films, as that is linked to the general style associated with Wes Anderson. We are able to notice a reoccurring theme of speed which is accentuated also through the cinematography, tracking and panning shots ect. The music in function however, serves the same purpose as other films in the way that it engages the audience, evokes emotion and makes the scene more interesting as a whole. "Music is often used to carry a film's emotion. Dialogue and action fall short in their capacity to convey not only particular feelings but also the experience of feeling itself" (Corrigan and White, 199). In the film 'The Grand Budapest Hotel' this is exactly what is done. The dialogue and action don't so much fall short but instead work in unison with the music to create the full film experience. "We are aware that the practice of scoring films with music that has no source in the story violates verisimilitude, and yet we readily accept this convention." (Corrigan and White, 196) This means that we know that the non-diegetic music has no source in the film, however, it enhances our experience emotionally and we therefore benefit from it in our viewing experience.
Sunday 26 April 2015
Sound and emotion in Spirited Away
How does sound evoke emotion in the film Spirited Away?
In the film Spirited Away directed by Hayao Miyazaki sound in the form of music and sound effects is widely used as a means to accentuate our emotional response, or give a spatial orientation of an area. This occurs in relation to the events happening on screen. There are few instances throughout the film where music or sound effects are not used to heighten our awareness of the 'expected' response to a situation, "sound engages viewers perceptually, provides key spatial and story information, and affords an aesthetic experience of its own." (Corrigan and White, 178) An example of key spatial information being given by sound in the film we can look at the scene in which Chihiro enters the boiler room to ask for a job from Kamaji. When Chihiro enters the room we hear all of the sounds we would expect to hear coming from a boiler room, despite the room itself being a fantasised twist on what a real life boiler room would really be. We are given aural cues as to where Chihiro is meant to be going and we are therefore able to take the journey with her, experiencing all of the noises she encounters as she makes her frightened way to her destination. We are able to get a sense of distance and proximity as this is the practical use of sound effects in a film, as seen through most uses of diegetic sound. However when we look at the effects of non-diegetic sound in Spirited Away such as the music we hear we are introduced to a new effect of sound which is creative rather than practical. An example of this is in the closing sequence of the film where Chihiro is flying on the back of Haku in his dragon form as he learns his real name. Here, his dragon state flakes away and he and Chihiro fall towards the earth. The music during this romanticises the scene greatly as we are not focussed on the fact that they are falling but rather on the fact that they are in love. "Music quite literally underscores what is happening dramatically" (Corrigan and White, 198) This is a common effect of music in cinema. Much like with practical diegetic sound, as with creative non-diegetic sound we are given aural cues to events that are likely to happen. If the music in the scene was panicked and fast paced we would be more aware of the danger and the impending ground coming towards them. However, the music is slow and romantic which in a sense slows the scene down to give us time to appreciate what is happening between the two characters. There isn't any danger associated with this scene, only emotion, and because of this we sympathise and relate to Chihiro and Haku. "Music is a crucial element in the film experience; among a range of other effects, it provides rhythm and deepens emotional response." (Corrigan and White 195)
Sound in 12 Years a Slave
To what extent is sound important in the film '12 Years a Slave'?
For this to be answered we look at the aspects of sound that are most important in this film. This ranges from music to sound effects, coupled with absence of sound altogether, seen in some of the most powerful and polarising scenes in the film. An example of this is when Solomon is almost lynched and is left hanging from a tree, barely standing up enough to breath. The sound in this scene is present yet absent at the same time. This is because we are left with the diegetic sounds of the faint wind, the noises of the insects and the squelching of Solomon's shoes in the mud but what has been removed is all of the noises which would distract us; there is no music or dialogue. This being especially powerful as this scene lasts 1 minute and 26 seconds without a change in frame, all we are left to be looking at is Solomon struggling for his life, silently. Corrigan and White in The Film Experience state "Sound is a sensual experience that in some cases makes an even deeper impression that a film's visuals . . . sound has helped to make that experience even more immersive." (Corrigan and White, 178) This extract from Corrigan and White applies to many films where music and sounds effects are key features in how a movie connects and tells a story with the viewer however, in 12 Years a Slave the effect of sound is slightly different. Rather than sound giving a deeper impression than a film's visuals, in this case it works to enhance them. You are unable to look away from something so gripping when it's sound gives you no clues as to what is happening. We are left to watch the horrors unfold almost as a bystander, as a part of the film too. In this lynching scene of Solomon this is especially evident, primarily when the other slaves emerge from their rooms and continue their jobs as normal, forced not to interact with Solomon through fear of a similar punishment. We too are in this position; able to look but not touch. In terms of the emotional response that the sound here gives us, or absence of sound, we see the movie stripped back to its roots of simplicity. Our emotional response is linked to that of Solomon's as he is all we have to focus on and empathise with. ". . . feared that the introduction of sound would diminish the visual possibilities of the medium and reduce it to "canned theatre"" (Corrigan and White, 184) The absence of unnecessary sound counteracts this fear and aims to bring film back to it's pre-sound days in historical film development, where the visuals of a film were the primary source of the viewers emotional response.
For this to be answered we look at the aspects of sound that are most important in this film. This ranges from music to sound effects, coupled with absence of sound altogether, seen in some of the most powerful and polarising scenes in the film. An example of this is when Solomon is almost lynched and is left hanging from a tree, barely standing up enough to breath. The sound in this scene is present yet absent at the same time. This is because we are left with the diegetic sounds of the faint wind, the noises of the insects and the squelching of Solomon's shoes in the mud but what has been removed is all of the noises which would distract us; there is no music or dialogue. This being especially powerful as this scene lasts 1 minute and 26 seconds without a change in frame, all we are left to be looking at is Solomon struggling for his life, silently. Corrigan and White in The Film Experience state "Sound is a sensual experience that in some cases makes an even deeper impression that a film's visuals . . . sound has helped to make that experience even more immersive." (Corrigan and White, 178) This extract from Corrigan and White applies to many films where music and sounds effects are key features in how a movie connects and tells a story with the viewer however, in 12 Years a Slave the effect of sound is slightly different. Rather than sound giving a deeper impression than a film's visuals, in this case it works to enhance them. You are unable to look away from something so gripping when it's sound gives you no clues as to what is happening. We are left to watch the horrors unfold almost as a bystander, as a part of the film too. In this lynching scene of Solomon this is especially evident, primarily when the other slaves emerge from their rooms and continue their jobs as normal, forced not to interact with Solomon through fear of a similar punishment. We too are in this position; able to look but not touch. In terms of the emotional response that the sound here gives us, or absence of sound, we see the movie stripped back to its roots of simplicity. Our emotional response is linked to that of Solomon's as he is all we have to focus on and empathise with. ". . . feared that the introduction of sound would diminish the visual possibilities of the medium and reduce it to "canned theatre"" (Corrigan and White, 184) The absence of unnecessary sound counteracts this fear and aims to bring film back to it's pre-sound days in historical film development, where the visuals of a film were the primary source of the viewers emotional response.
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