CHAPTER 3 Listening to the Cinema: Cae KEY OBJECTIVES ee or sitter to aplemen he nages? psc te atcng ts es 20 ‘oscil, is ey ‘pn moi a eg a gee ms, on sun ele ae costcte D BY Fed by the is “oor We wl erie in atnsip to mas ew od aay ig to sounds ae eared combined. and eed ‘he uti a he voce the ces nd racist gore the us of msi lec ea is between images and sounds tne aes deter the badion lion one among many that srurate he nc ee Ma he ua cholo aera areas sound technolo: our compete forms a pea sono cece serameamel een eu ao ob ee ior und id over time. This darational property of sound vate os Pabc Ene :ht the Power” plays in the opening credits you that "sate Soa fom the rom, yo erceptions of ofthe fim’ story shows singing alarm clock hel infront of 3 mice ‘Phone, a the Di, Mister Sefior Lve Dads, bop his rap Hs woe st he mise he’ phving are heard asthe camera tales ts nto the see! std Finally emerge from a characters beds odio, another une ofthe dato of sound, Seeing is more dretonal than hearing. We must l face foreard and open our eye in order to watch t movie, bat even if we cove reves ‘uring the shower sequence n Pancho (1960) we wisi be asuled bythe highptchedsiing home that Berard Hermann compose for the scone ‘shich seems i come rom behind astound ws. Our tiara hearing cas give ws important cloes about the distance and fusion of aot saree, however, ad this capacity aetve sn cinema audition os we Intent Ihe images we see. Sound add o our sense of place ia the seis of ignelies "hat opens fay Cyndon (1975) al introduced by the marron te tones that seem to be reading 1 us: 3 dhe! ein omg shot and Hea ata stance a couting seve is accompanied by hrdsing: Lyndon nar Tomanee is set toa haumcng Insh song: British troops parade to marta rust’ characters dance country i Sounds are ieniled by ther frequency oF pitch. their amplitude o ‘lune, and their harmenics—the subtones tat giv sound ts prc {qualty“though rarely do we pause consciously to notice these uae Similarly the soundirack is rately the frst aspect tat we tefiec on aller seeing” fil. Yee we may be fmpressad enough bythe score to find sur selves humming itor even purchasing the soundack CD. Sound factors Into our expectations of ins aswell We ancipate how a surmmer block buster ora hearwaresing Christmas movie wil sound. ad we wold be lsoriented i the iim dapated trom these expectalons-The sua dines som of the lm experience can be all the more fewatding to ceplore "hough film analysis because ean be sa natalized and hard Lo pep bur ordinary experience The Foundations of Film Sound Despite our habitual references to mation pcr and tof ewes, sind ‘ily itgrate in them experienc at one aspect of sora sos speech, Is so cenizal to narrative comprehension and viewer emtiesion thal we can often allow what happens even when the tute seat of sgh {Television sesthetes ey heavily an sud o make contact with “weer ‘who may be outside te val range ofthe Tse) Sounds can interac wth images nine ways and SMateges used to combine the we fundamentally let gor understanding, ThesengsWell Meet mosaic 10s song used ta bos op morale durtye World War l—thatsetmpanics Ieotage of Hombs dropping ta Dr Sirangelon How Learned 10 Stop Wormng and Love te Bom (09649 emake i imposible to fed these mes as soble oF tragic: mstead 9 frame of Mack salve de ‘eamines our view of war (Figure 31]. Sound Is alo pertain the moviegers perception beeasne the fascinating relationship berwcen the original Sound and is vepredactio, Although sound sa Figure 1D Stag eed Sp ered whan itis recorded, engineered, and repror laren 960" an cage apne eae eee es, ced, ve Teel that we sre hearing areal sound in messes det see‘igure 52 Flin 1967 Sue sSulnger tin es sealing eens engi at = a Wi Sart comma oes 2 sonal coy oe rena chaser naling such a ae sol real er 0 a eg ects ‘evelop recording practices have pursued goals of ever veo su ee ay tims sud mach eee al eee egy asain ea schoo seb hap wel sole pf an Sod maze ane oes md ed to tt undak—the haa m rise or sound effects—will be discussed in our analysis sna image is often combine rack een 2a ced percepons in the following secon, we wl i cote ster he woth oa pier combie ond reproduce Sound and Image 7 Moran snd fast he ahi seria a nmr chan become Seine ee ne har oun ADS ne whe aad oe ao oe see allows ewes 0 ot " ‘For many filmmakers, however, as for viewers, sean ante ge ry bec 2 eesti aha oe sey consis res the oe eg ites ha he a ease the enginal wound, The Tact shat sound come Later in the Ms orical development cinema has also been offered asa ceaat on of eel a too Tited, use of sour nln 8 bilities ofthe madim and reduce to “canned thester” In his musicale {Le Miion (1931) for example, in which crowds pick up and sng sones ‘egral tothe pot Clair demenntrates that sound’ potentials more a ditive, It transforms the film experience tsceraly, aesthetically, and onceptsaly [Figure 3.31 Because sound and image always eteate meaning in conjuneton, il theorssatenve to sound have looked for ays a bilities of ther combination, In ic 1960 Theory of Fil, Sietnid Krseaver emphasizes distinction be tween synchronous nd asymehronous sound, The Alalogue appeareto come dicey fom the speakers ‘ovine, wl theater dees no. (Some snayss Prefer to cil ths distinction onsereen vests off Seren sound, Kracuer goes on odie be. {ycen parallelism inthe use of sound which xcs ‘shen the soundiack anime sy the same thing Sa! counterpoint (or contrapuntal sound) when two differen meatngs are impli by thee clement ‘The wo paso terme are detnet rom each other A shot of teketle accompanied by a high pied ‘hiss bath ynchonous apt The akete Sccomnanied by an alarm bel would bes sete ‘ous et contrapuntal use of sound. Avokcover of nature decumentary may expat he behaor the mals nat axynchronos seo parallel sound, Llc images accompa Sound. fare example of the maliple meanings thet snd mgs "elatonship ean achieve come atthe endu Te Men of Os The booming oie and seu eet syehnized wi the rsh mage ofthe ward sre suddenly revealed as ashichronoun sounds produced by the orinary tan behing the cra, When we shin spain no « mera, the sound is infact synchronous, and what was tended as paral hay In 1938, the dawn of the motion picture sound ero, radical Soviet eccors embraced the creative posses of sound, Serge! Exerc ‘sevolod Padorkin, and Grigor Alexandrov wrote tn tel Statement kc about the poss. oe sl ma tone piece will alfod anew potentalty of montage development and pe {ection This endorsement of counterpoint Invoking principle of mute ‘enspositon, sn be opposed ohitmaking paces ha erplasie pa age. tn Hallywnod ns, for example scems vera fo accompany set St busy steet with ralfle nots aloe sewers media nda the locale through he vnuels This paraleism i also am aestNeuc cholo, tne striving frets and harmony Sound sda la generate meaning in eon o each ote: Incsasing the eet of versintitude Even bun ter no loses! con Devens create! mec the uence fs sand sch fe sequence, cmphstas hn rent ne atcha the ngage of and \ehncans, “mam” sounds to imagined source, Regards ofthe tern ‘ary pln ela—__——_——_—___ Figure 54 iene Ho 956 indy nce sou en ith mang both the spatial nd mapa relationships of images Sound and thei aosthetc purpose ete nt requetly ced a fstrerve distinctions IsBetween diegec sound which hos fis sare in the narrative word of film, and aaeetgetie sound, which dovs not Belong tothe characters’ word. Ma Mei Source ei sound isthe actuslsoundirack that accompany Ten are ear dieetic sound refers io a ible onsereen source, Drege ao re ed fem era anlls bat raw ore commonly sod in lm (eager tothe world ofthe fils sto: including not only what is Faas co aca fn mpl to have ken plac, (Degsis comes from sae oe ak encaningeling” and distinguished irom nests mean oe ore bee The implication that whale mimetic representations imi soe een, depts anes use patiular devices to tll about or imply tae sal seuings) One seston oles a simple way to distinguish be Seen ic aid nondsete sound can the characters nthe bm hear eee tthe sound is Hkly tobe nondegeic. This distinction can und elects, Conversations among en ‘toon charters the ice of God i The fey Coonmamnenrs (1956), a oieover hat Comesponde ta confession 3 har Shaking to he pole, andthe radio musk {har secompaones ths morang routines of wettest neghibors iy fe Widow 959) areal icp, Nondiegetic sounds Jo not {Rha ruse versa. For example, the woiceuvee aration that tells ws abt Ihechavacers in ie Mapes Ambersons {U2 boca rae thatsecompanies ‘hove Sener june, osu ets ac oe Neral cymbals when someone kes Gin al ae all nondigele, Audio pra Toners rele to dlgetic yusie sack a 8 shot ofa hand performing ata sash charters iting to misc, a6 source mse (Figure 5.4 sFaL i isintion ean sometimes Be murky. Certain “uu ether characters an be construed a toveeorer, though no spk wo hou fn choracier and ths as aising fom dhe nara SP ite Fim theorist Chrisom Metz has classified thee as sem ‘lepeie sound they co also be veered 10 as Interna degetle sound: sere soir matts ofthe dead chatacters voiceover tn Stet Boulevard TiSs0) ea ccm, Diegte misic-such as characters singing “Happy (Bethy is often pleked pe 9 nondiegetie theme tthe fm score, airy gnecand mined cases rather than frstating our steps 10 aac ee ilnirnive of the lukly and create possiblies of the creas wa te complex devices tht shape our experince of wins spatial and temporal continu {A Short History of Film Sound Tops Ta (1999) lls the sor ofthe cllaboraton between Gilbert nd Brn th lcenieeentecror Bris estcompore do, as they Nea read aly wie he fst production of thei Op aie land Te betundihesenes str culminates in a refore see the opera that brings toseter sound and nage for he theater ae ge is the and exces ths experience othe ls viewers rei wt experence ef the moves nenhanced and complemented by tears nd clogs artes ed tics ims the sane wars pein sre tmadcinHolwoed and eter Gre eke Pampa nade scwcd cand pee SMe ot choral de inci Gr heer if at ens gon copa nec cI ‘scores of such films as Div (1982) and Tine Cindfather (1972) to the operatic fms of Laching Vicon and Werner Sheet Asn opcrs sree film production™sts, costumes, lighting, and stun! is negated i the service of «narrative. In his nique films The Umbrella of Cherbout Sich! Lepands music whieh seca canames ane dee oe monize with this heightening of experience. sarang Aesignaeda theatrical give popularized in eighteniceniany Fes thes ‘bined len eh tat Enel ees meta American stage, melodrama had an incalculable influence on cinematic but the up-and-down rhythms of melodrama’s sensational sso drew 1m the strongly fe ut expressible emtions that maak oo vee alt conveys. All of these qualities are present in flty melodramas, fo B oe latter film, the melodrama is enhanced by dieget ial eecripe nea shat the cesta lameushy ples evn she sp geen dn [gare Se Fone 5 toh deVen Perr ipo aenl ee See eet a oar hay Figure 57 fay dln po Erman 5, in potht rvie! delterng auences with specBe ex aoa scl cn or ee Rl ores 19 nek anwar om onan 308 th istribution was already in the works. sees 'As far back as the end of the eighteenth century, ‘helped the public incorporate unfamiliar technologies ‘abn prem Te fe ht Erm ws red as mtn One ofthe in ae thie fr 1 of film was discovered and repaired, promt- fof synchronizing image and sound very carly i fk history and inventors continued to experiment With means of providing simultane picture nd sound "oghout the sent-im er The eal techn ‘orig sound on a separate disk remained liked fo {he ln paras in dhe late 18205, hen Warner Brom aphone process became the lst widely adopted ‘technology to tink sound toa projected image No event inthe history of Hollywood film was as ‘atalysnias the rapid incerporation of synchro nized sound in the period 1927-1830. Many dymamice ‘Were at work jn the intrdction af sound, for the relationship of cinema to radio theater and veueeie to the economne postin a the inst the United Slates headed into the Great Depression tothe pope Jan of certain flim genres and stare, Yt exhibitors needed tobe convinced to aot the caiely untested ‘ese technology. The expense af counening a salient numberof theaters 19 make the praguction of sound fms feasible was considerable andthe sts ad be wilng emake the investment. One impetus wa h Prospect. of gaining a competive edie in uncertain economic tins. Theta compeition anne over Solutions to techie! problems, with sgniant nancial gain instore (or the company whose mst sae adopted Inthe 1926-1927 pried, to studio actively pur sun comping sound technologies, Wrst Brow {resi imvesed in sound ann 1926, premiered is Vitaphone sound-ndisk sytem with ¢ program of som, a recorded speech Holly censor Wis ‘avs and the lint feature him witha recorded score Don dan, Fox developed its Menietore sound system. which recnded sound ‘optically on film and in 1927, neduced its popular Movietone newssely which depicted eveything trom ordinary sre tenes weniing ews each 'saniator Carles Lindburehs tae lo ars and wee soon pasing in Fen many theaters nationwide [Figure 3 91. The new technology bce Hope sible ignore when i branched out from musical accompaniment ind send sffets to include synchronous dale, Public response way eis Warner Bros. second feature film wth recorded sound, Te Tse Says Fess in October 1927 is ereed wih rmsining eer cries stad and the public that her was no turing bark, String tawevillan lobo "he counts most popular entertainer of the ime, thei ella story. se lar to Jolson’ own, oa singe wn ma um his Back un hin Seis te and th less of his aera canto ln a synagogue, n order to all i show: busines dreams. The fin proceeds mich ike sien im, using om ‘entlonal interes ana continuous score, until Jlsons munca noses ae acompnied by synchronous degeic muse and singing Heth sy ‘makes its greatest impact: when Jolson ad libs during hs perlooonee he inraducesdlalogue to the movies with famous promise that woo alee ame te “You ant heard nothing yet Figure 310] The deze Singer thos inaugurated a brane gem. the musa, one that woud capilize onthe conention already tn place presenting mos and amuse together Performer ofall enc grou, incline Avean Armen ‘kansingers and dancers, were soon featured in short that cared verte [H HUNDREDS KILLED AS RIOTS Hi SWEEP OVER EUROPE bY SENATE DEBATE: P| STOCK CURB |]SPRING CARNIVAL, SEASON ON’ PqRAILROAD ADOPTS BULLET CARS [Oiher Exclusive News Foctare| 2ZNOW SHOWING Figure 9 raga fx Mae i ox Ses einai ean conteSem ed es bee Figure 5.47 9 To erase pe ennai SGA er han ao eas oping et nae i cme ah bat ln age eds he Nm Spc ma estes orn ime ch cul pe dks or pera need ed sc Doras Pkt ned gan yee and rr Pos mega m7 sehen ene on ences atm Hi sabia of ATT) enamel aterm Elec oii of ATT) enn peo i es to aden coarse in the ri a gn me cae Sentra ima t fines eaten teil were move han mache BS it imbersome sound recording wecbialny ‘scan ding, arent precautions were nese 1 cent i oa up the recording poe Re ibe 1d asker bermoaned Host ely moveable sound IS We lew nen ae eer tes we, gay “aatdy neocon ee ey Fi bl ean oe ented Ste sia OPE ted ee arene Dereh sree inne Mat omen it weve developed Despite iach rd by 1980 sent sts he mar tre Chapin Coosa changed irrevoea {oken dialogue, Fim eet fais. Expats we al landed problems and otenisd esnips ee TS po ein Gemmany in Fen Ea hy eimtating void in exe HD ee Set me dies mse ol EEN seme and sone eS Ce a damenage Dc Src lion sed the same et a sespeaking eat ah So Bete aloud cle bh SS Beowedmore provecale era te Shar pita Wish adequate dbl arts Wo — ies, Hollywood damit a cise ying xentualy vested and foreign ns Fecame increasing rae : & thoroughly i rerio rai had thorough as aude ake hy standraaed pres 2 syne pb no 2058 Trine and ha 3000 Imucehas asceccsoy spears es ‘oy ear sou alo neu Scene band does not commence until the characters arrive at Skull Island, home of Figure $12 Pecso(1930) the Kong. The music helps us emtera fantasy world as a music cue on the radio athlanguage version was shot on ‘Oe othe most innovate rectors ne try of soa cinema, Nee me Ma ornate sed omelet fic a ge hieved ox otorogsh ih ‘ofthe Works broadcast that many steers mistook for an actual Manian jason In Cen Kare, Welle dees hi huckground and makes innovate use of sound, rng with compos Berard Herrmann thrxghat the praintion phase of te fim an being Ing the distinctive quality of his oun sice to his pestormance ihe ile role. Wills exposiments with sound mixing tchoigues and uses bp justmens in vohime and quali of sound at sche changes For example os we bein to hear the burrs verso el Rane’ dying da Bhatia the et tothe so npanied by the sniek of 9 cocksto [Figure 3-14}, cling a ‘envion to a shift that ater fms would ide: Chis Ke slo cpl he ‘patil properties of us sound to work against the twostinensional quality UOfthe sreen For example, the bustle ofthe newspaper alfices ts comes ‘tae ofan conte, . Figure 5.14 i tae St ah akse EH eoniaeene have seen, the traditions of spectacle enhanced by music and the ine atone sac proceted rap after heaton of ‘Sond. Hove mvs soundihe ens of wis the nh aul of seal Heckground must, he use of sound effets in confunction with what 0s and surround sound), and the 1990s (digital sound) brought eae ths es Moe shan simple chaos improvements” he ‘The Techniques of Film Sound ry fn,» sound de ‘As early a he peprotion phase ofa contemporary na sound de 1 ved to panand det the neal sound throws he Hey one tthe mnt prominent sound design, Waker Much {rhe ith France Ford Coppola eeate a sountcope fe Apache Mott To99) shat eas response for he fis urea hoor as the les Ad rage 18} Baring preducon, sound recording aks laces ‘lune tbe Mga cen When the sate eda he be fining toch he lapord so hs secoied ono ethos sound recordings andcamers ages Figure 3.16, Mir Sones for cod synchronous sound may e, laze on the aos Tamron speed oe tion cut camera rang on Sette nse aking polled Boom, or er oeacons on Shr sisconent of mcropionessofen dictated by the desire o erp Ree ASRT itligiatty of dialogue, especially the speech of the tars n Fou 5.15 dp 57, Tecra ape on the inal eon of » lm. iret sounds ound {Sptre deca i ture some dee ot Felccted sound apne! sn son bute ase {fewa ad sc mu be ese phe creo Suc The sound reconit ov prodtian mine conbine ese dienes dns He schosting ther ative volume o bree ila sound recording ocean Fie in'Rahee mans sue (tS) os mary ot teeny agra ac wind canbe eed ‘Whom of he fim separ he cai snd ines compen pase of postpredation Sound wort bei Sound sating inert th theimagetrack oceanic satertips taba Connens between send nt ann streen and sooth ov ark ania, Wee Tie 596 cates on waste Sound carries onera sal ans in mits tenes sound bridge. vec sl aa tet done oy bein elon the peaking charset areses BO se fhe The decor toa wth te compose an he pcre a od Stor tn dteomine ate msc antes be see SThvoce called spotting: Sound cs be giered ivace by nounteteds sor on computers tered Sr sc yr penerata y fle rit Re forthe egendry sod on fck Fey ese embe t she std ere mc he posted on cntana feneatce pin cosy the et clan, icyuuming noch wht al osu fetsareentatp me wh she ca tak Te crposteiscomoine hens Strome wth he a cr gue 91 Te compe inay acta conde the mtn nine wth ie fie Ponsychronmos sound ended afc ata te Ssvebrnincd wh nse sures fen pre ee i} Sle cS natural sod and ‘hing prdseon may beindtnt do ae pone ‘ever ter roblemy and macho te actors pore wl epend on mel of asp, Dung atonal Aino replacement ADR, ste shen one anderen hires be Syooed ins hese towns inp of thse) dingo le ‘sie isa theremin ted oa :Fimdnlonse Dubhing sien seas heigl ease as him torsion svuer sums ler cosas Paces sh smehng ease pecs he sound FS erond hn a walle ie word ey hee cee thw 51 ton ‘omar erccrding room one tel proper ss sation when SY 22, fm ‘nothing i happening) may he used to cover any patch of pure silence In feta man 8h ted im, Sach practices sow he vem te which te co unin dee in fers repaice el one. snd ‘Sound mixing or erecording sy porant agen he postr ome ths leet on oc pte Al ths ces heCinematic Sensations VHENTHE SOREN SUREAKS. A esee ss Teagan STEMS fo) tema TUMOUR aE) tar heows mares a Sain teen seal a the snack bar, but he fact that exhib or oktconttr ae ser ey ini stony Hale's Tours wer Sold exhibited rave ms tn Whe railway aes. tn some “Slate movement ponte by iain noses. singe to amserent pk oranda aration such is © Tours, and in lms based on i te Cara (2003) tn the Maus proned eidence af the publics dese A Rett the corpora oe 4 seated by many rept fim artis 2nd thee senor aa abetrayal ofthe poem fin TBS anlar orn Ralf Araeime- 130 ON Sadana fist sep toward the comple DAaEY Ne garde urs Sa eepace wala Which bee Hh SE 7 Bh a Ee ion 12) Te ch Chceseed 4 Satoh wre im or se Sete He colo sun and wissen ACIP ST ge. 18} Cae ed the gees fein bt or Cnr oF I. eh oF propria 2 mation enue oH 2° TET cu a mon tat ated ee Se ee near coal investments and the inthe ss ps eoeatre ced meni any film thes aE hat be Shc degree that lm as ana 0h Sim io ts way to de victory of a8 mu rer eae ver creative ve” Armhei lent Fe ARS liction orsemation dat such invert : Fehekareed While the metaphor af she wax muse fom pci affinity with eller popular spec: othe eS docs not sugges the dynamism of our nee Hs aero iSe pone i peace er the ns fr te f en Sb ooniaares Tingler en cpnus thats elec sod reprodtion; uid charter rm nga her she the IMIAX aad for Bree ed 192), As a Ser of | ene ‘ea i he nthe alk via ei t L wu em en nde he seated sms ae pe smoke. Much Inter ln pees ecle In foc, a umber factual avenons Fides hae We ‘pe fEiSttor of lm go beyond sound aed vision a “tate ter sess, Usually pat ofthe exh fiom phase they transom our theater expsrenee oi plete ksi. a Are resid Wingetoanccheigenny puerto pce hee ln that have been recorded ection, es and dbs Se racks are mixed, they a2 econ te sound exo wih the ia i Std SSE erat ble cundrack ase sD me acparate racks wil Cina eiended, sds pute the deta an esta Some ca ce tn EF muhot sock ‘master teak oma pe fnal cut of the film. Optical tracks are absence ofthe object. Listening to cinema #0 ind a. rrntedt on the film record separate disks. ‘ iuction of 3 sound fs undoubtedly a cops, Bur Sdn the hn ne ces when he isa Presence ore doubted 3 coe Bu seems 1 have the same 940 529 eee tera ose win a oon onthe eat asthe onal sun, even if te source, ds Ulsan mien Monat, tonal, dep aly, depth has changed. We believe we are hearing ihe Si of atrogtre—_— The plocement of speakers in the actual three-dimensianal space of the, found’ capability of reaching the viewer/auditor in a more immediate way ‘aa onthe 0 Dy sound am ped si ‘quency sound, was introduced. The release of Star Wars (1977) ashered in Sh explosion of films with stereo soundtracks using Dolby technology. esp ton ad ae change im isch gt oh, hos yet Jrrnesie Pork pioneered digital heater sound (DTS) with sound recorded SRST aDN Sil Sd ees ate anes wo cet ea ition, Audiophiles lead the companion trend toward home theaters with Sr and apenas configured ike thse of oe heer ace a cpetal quest for images and sounds that are bigger, louder = VIEWING CUES: Flements of Fi ‘a bolt sgl seen te move you il sen rst in class Make oto Shan apes sound 3 you can. im Sound te dry nn cl he ect psd atone it ee ee matin pot aul ers othe fs ond ‘av be mau rey few os? te tan te ssn and ei a cn flo acne yo Teulregone ae et on cre ent pce of mt oes sng sce th oreo eve Ounge exon? tn fr eu nhc yor wea be fm fl re Sound and Image in Singin’ in the Rain (1952) Tusionaryas the synchronized sound intection in the 1920s Holy wood has even fished is own mth abt thi Fascinating chapter In the cultural history of film inthe gat musical Sith Ra, Ditected by Staley Donen and Gene Key, Sigh the Rat demos strates a delightfully excapat use of sound in film while also being aout how sound inf achieves scl elects. Abchoved movie myth, hadchesses the relationship of sound ta tmage, the history of film sound technologies Bnd he process of recording and reproducing sound athe LAs and 1950 MGR "Freed Unit” working under the superision of producer Athar Freed (a former sovgvter whose songs are ised Si the Ri prodiced a series of lavish and inventive sca Set lyon a the fd ofthe 1920s, Sigh’ the Ran follows efor tthe ctonal Mom ‘ental Pltures to make the ids fst sucessful sound fm Although the lms sel-consclousness about the fmmaking proces: invites the sud tence int a behindheseenes perspective, the fil ell continnes to en Ploy etry aval technique to achive the kann ofthe Hho ‘ruil. One ofthe lesons ofthe fil thst a "tlling petro” ast" ‘lent picture with some talking added” as the stud producer assumes to be The film sows that adding sound to Sages enhances them eth all the exuberance of song and dance, comed, and romance From the very benoning of Sig onthe Ran, thetachology respon sible fr sound reproduction —technology that is usualy hdd de played. The film opens out x Hallywoad movie Palace where crowds have gathered for the premiere tthe pee Lockwood and Lamont pte, Our rst senition aural “eadice and gentleman, 1m speaking to you from... © The asynchronous an ‘nouncers woke caries acre the crowds and sem tWaddress us directly. The second shat opens directly ‘n'a lowdepeaker, underscoring the pales ot Smage and soundtrack, and then bepins to explore the crowd of listeners When we ft see the radio ‘announcer the source ofthe synchroneus vice the Inicrophone is very prominent inthe miseen-scine {igure .20) Reterng‘o the bygone days odio And lent movies, the il celebraies is moserm a lence¥ opportunity to. watch and. ard tage “Combined ina sophisticated MGN must. ‘Singin he Rain immeatey besin fo exploit the sources an contentions ose nnd cn Ai noted ele, no event inthe history of Holle il was 5 reso ‘ea. When sat Don Lockwood (Gene Kell) begins to ell the sory of hs post ina diegede vooeover ta Figure 520 Sg ae (120 Acca ans ‘ecg eddy scene can nen———_—_—— CELL Figure 521 fg nt (352) ai ofan ijt othe sng ts ma Be aoe “ncaa spe ee the assembled crowds and che radio listeners at fom this is cantata use of sound Because thcsetes of fashoack images baie hs words When Fis onscrce image ives ea to is lsereen voice Eeehing ot suing a conservatory, we se hy SBT Nt Coon Brown (Donald O'Conner a2verming »vodevlle routine instead. The seene Fe tha imoges and votes can be out of sy, 9 PONE hat wel Become promisent the 8 35 8 AUSUIe. Ilsa shows the rile ways the sound eS eamimeract with he ages The srtosic and [Sins vaadele routine s,m urn, accompanied olny music and hurorans sound effect die Pee stund of the Nasitock word encouraging oF ‘Sift eppreiotio ofthe mamber Next we hea the eroneinapreciaunereaedons o Lockwood nara Fees SaPRom tha we nou tobe pony. Hosever Rens ot experience these to alferent levels of lpr ae-serving martin ad the debunk sng snshnonied sound ofthe Masbacks-os confusing seer that the aera ofthe techasians of sound tectnoley will not imi a eieget on dhe lip isons of sound and sage relationships "ca ont eat to expres the dept of his feelings to Kathy std be eyo he takes her 1 an empty soundstage. bonis Fane ee fepande on the alice of a suet background, a wind a nee tery of mon ight, hich together render the very Petre hin. and 9 opare 3.21) Yet the conesponding sun fleson js conjured oan Aiur send recordin ov lfects equipment. stead, each of dance ch ay stehing ov the wind acai, js Schronized aor eee cine” nondeuiie misical ourish, The richly orchestrated Wik 2 jecampanienent te te ensuing dance number doesnot originate rusia cee Pa auure, is powable fo askus vo wspend our cisbelist RE etter orl, musics everwhere “Tae he sted, onerble ste of silent costure drama aginst Oa ei al comtemporary sauscal—a form 0 spontaneous that aoeessuptstocksiaze In dhe "Make Them Lavh” sequence, Cosmo sarees dance wi props avallable onthe st, When hs agin 12 seer rc orchestra stra up; when he akes pall, cymbal rst pre a as but asynchronous use of sound, The world in which Mons In rata leary. the course ofthe fl, Don Lockwood wi ar ae made lp true sle—the ene he enjss eng’ and don’ in he 1 esc nmcreen persona, Lina Lamont ean Hazen), who repre aie wet the smimating atenticiy of sound (she a beau Tee aia combal accent and, oneal het hlariows performances se ee Sal pleasures the kn), wl be replaced by Kay wo Feseaieeois Kathys depicted 3 genuine Berse she ean ing Ise fd sound go tothe ea arcs the irs paradoxical acknowledgment of the sound sme los constructed by Hellrwood and is indulgence in them Bete a ce between the discetrous premiere ofthe nonsnging Tie a ein aa he fils tna ene tthe opening night ofthe aa cpclng Cava, im whieh the tru of Linas impostue comes ae oe nny audience ahs at and hackles the erors of poor aerate ermal recoding: the ators heartbeats and rating costumes Figure 522 Sep th e852 The ingens > ow Figure 523 Sign ea 1952 The i aleve Inmet seanponey ante ous en sarod. deo cut ther datogue (ofcourse fr us, the cement ase fo us, the lute and the heribeats sre both dl he iter mised cma ih eh) The in oy have ees fonarmentalyrianderstndy the paseo" pclae” Doris lines "Tove ou, T love you, love Sou ae wap aad Foundly mocked. The labeness is ul’ on display when the Simones to Se: the villain nod is ew as Lint high-pitched “No, no, no comes Sut suggesting thot men sid women ar a diferent a es ano. The po {eel deceptvenens of ecology is anocked. A the premier Te Bhs (2 Ca nat he aly es he rope ah a ycen sound pd ge tn cong the hao ocean protest ern ht sho Between Donan Kathy er shes Feed ini tthe pm ae hac rc ‘shen the ctinalns are drawn forall the audience to ee [Phgue 8.29), he hut at rm th tags Don earch by Sng Nou Ay Lacy far to he rm the tae ios demons Boor the adence is ax wie Ln, dhs ey singing ce tn teen ain Eon ot coments hens ihe premiere isola sound film that should not require and Kay joins ie aesompaninen) a Kay ons Son ina ds The oe characters aly Rave bah pai as fora ine” perlormarce oftheir forme Exhinshe-scones mica and emo saint Es we snd i tng hones ‘hen gee anthems aegis sc bea sneha ta he in Tilly Strate caper kes gt me he oper a prac s thebiloard anoutncng the pene Singh the Rab, srg ake ‘oan Seiden oof nae erent ya oe a moe by the same name tat we are watching, Gene Kel and Debbi Revol Fine STs cons ch ais oto comeon: 213 ied averting he ie he lm we ae watching. he Sint hn i de Hah tn so ot plese by xia mle sh as Si he ena. Sion he an amazes the ara of snd nolo as he = able and enovable combination of sound ad image.Elements of the Film Soundtrack: Voice, Music, Sound Effects 992) adapted by David Mamet from his own a. 5 2 of acon wees The Frat 1984) be 8 © ‘sad of ise whe the tile of The eee des) announces what one can expect to hear oats Glengarry Glen Ross lomo bythe sun ‘ene nits fata wordy the Soul Mae (toes) mod elects are the three clement of i trac, Vole rst ate often present simian. Ip Soe 2 sunt, 34 ne posed of ratvels discrete photographic nese Fe Jnr unfed. Nevertheless, hough thes wus tent eS gu pera an combined in relation to any veh BE Fe a a clued goveraing these relalionships, Usally dose raat ae for ceamples and on in special cases dows ano i ove iages that accompany (Disney's Feta 10) 8 assent allowing the musi tog fis.” Mere we ll empie an uae clement and ie potential to make meaning in ami ana a ed atte sous, We wil uncover conventional a i ee shape he bm experince nd given don an a the properties and poem of film sound Voice in Film urna epecch often central to naratve insti Haman ree on lin scenarios Deame bc a tt Wit re aa or om say), cote qualities of the wes a eee Cesena ln: umm Stewarts rat sed nd make 8 ton gnc cadences lexus know we are wai a ctr motvation and goals and conveys toa shes chore cecrd ofa actor® speech aie oa i scandent roc, sou nal Prima oa portant concslon In hearse Pian as gue ttn shout ow we her i characters speek asthe Toca ca from along sot ofa conversation os mein et image ce Losers of closeup shovreverse at Pines BRS a adc thse tans ecu tout che HSN, saa tang bencen set and ected sound. Rather case as Fone ie tecnded dec ands clear and eh 3 ett hey pohout he ifogue scene. Sound perpete Ws ar eon distance of sured source remains OSE ABS eee PEE om he depiction cart soltons oe SE of ti tothe Ra. rt ony every oer word Su aor owes her head wile speakine: then Mie a eee plies he ound of er est, Sonne Fao ater Alan nmoatons im muliase ln ne menoned cater nti chape sUOMGE SS escording n Na eh record. One svt eae 55 ae ceive ose of overlapping datos, STE SET ae cu nea Oram eles had REIS speech ma technology. In Nasi, characte SN sophie te Fieure 5241, Tis technique, which ms) DAMS 4 Sean or fen used to approximate the ewe Sia Fin ee ls competing spekors and sounds athe 9 imal cena evens aerate Sars See eee ne ‘Se apcord the spoken word itis iteresting tha Rim sound after has es meteor 140000 WE Bele narrator introduces the im’ events. Abwupas the same sce advent the detcete toma cent rm, telling him ta be careful what he touches, a striking use of | See Saco ay ao be ne ager sich a th ho si lm to generate suspense. Ear inthe fm Af (1931), nia tnardevoisren sels henley nme : ‘shadow ofa man, combining the expressive pos ae 4 ian ath Sate shed bean aaa sent ia Fg reese) srs the same space and ume a the osereen figures? Juxtapositions, We cannot determine to whom the voice Songs sho tial ee what is spatial ‘Hons are raised by the junt vist Gadus Tero fhe on sd by the untapositon. In JeanrLue Godacds Tuo or nb ando ogeFigure 5.26 Thon Ba iad mn. eee igure $27 fi a3, thatthe mise-e-scene exiends beyond the borders of techmoogy, i suggests how the woice-off can introduce distance inte the inne teahe sei fe dstnged fro the fami ecae of tai i Ma? 988) and Te ov That rot re source not ibe vo connote rustortines (ahah ody they ean sound propaga m E Himes referred to as “the Voice af God.” A erent haicsone cons hear nature show comers 1 pa Sitach af me” seres, combining documentary and newsreel ses twhove revollctons organize the fim’ other segrnents. Inthe introduction Se ei Wa lM Beasts Orson als se + ‘orvelation. In effect, the multiple meanings of the image had been reduced to singular meaning confered by the voiceover Henes ‘synchronous voices were eschewed altogether in dactmetry sles such ‘as elnéma vert, which instead used anscren voices to advance the oe tion Artbted t0 mmakers or subjects paricipating in evens. these ‘voices lef the interpretation of tages up tothe viewer ys documentary ‘movement started In France, using unokinushe lighiweight cameras and Sound equipment to eapturea reals stution aswell as whtever change ‘conflict might be provoked by the ming, The closely elated US. mune ‘ent direct cinema, inthe hands of fimmaker Feerek Wiseman it gh School (1969) and Domestic Vevee (2001), sims to abserve an unfolding stuation as uncbirasiely as posible For some immakers, sen a oc interview of onscreen subject is ‘considered Inrusve because alls tention othe presence and intention ofthe filmmaker an draws it say fom the documentary sabjet mates Dther documentarians consider the ona of vote ff mtrew to Be an important marker ofthe lations of any ins perspec for exam iimmaker Michael Mere has made his on-camera mmaking persona Impertant pat of hi ims, The connetatons othe voccaver ado hare been modified by identifying the Hmmahers voice or Inredvcing a Wie with distinct embodied qualities what some theovss call erate Decne Female or yourhtul or restonally or ationaly dine voices ant not cul ally granted the same authortaive status asthe shite, mal, edeated oie, sch vicensers can remind viewers ofthe subjective qualities ofthe Hlocurnenuary. Any voiceover txt i nly paral tke on tnt an supe tat i hidden inthe abstract qualities ofthe aditionalvoleuner When ilmmaker's own velceover narration fs une n'a work tha fs abo zraphial,or inane that elles on the filmmaking process, it may Incense dlcumeniary "ith" even af exchews ehjectivi. Lares Poros lures her documentary abt her family mermber in Meni au Califor The Dei Never Sep (1004, as an investigation, using her own unfolng Perspective to guide ts structure. Trinh Minis sratesy in Rewssers ‘lage (1983) to use he ow voce howe softness and aetent require the ‘ewer close allention to record questions about the fis subject and provess, She “crits the voieoter In fragments that Fe inset expan or “cover the mages Such experiments ase besun bie the bound fies benveen documentary and ther ft eames. They encourage a fous onthe way the Soundttack parirptes inthe enc Structure oa i, sae Ieliens Looking for Langston (1988) Is aon poo Langsto Highest = by no means 8 comentionl Ahocumentary [Figure § 24). souraivack crowed with voices revting poet by 2 umber of comtemporary Hack gay ae authors, and itdocs nx elaim to provide des Fintive information about Hughes Theos Bi Nichols lok a the dle ‘2,960 the lef mmales ashes canbe used in doen * to discuss wat he lerms the “vols” ofthe film Well. AL ome endo thespeciram she authoritative sons mous yneeoner that sets up ind terprets the ils images. At the other, talking heade-omrcamera inter ewsusually shot in medium clase up—tll the documentary Sx Sch as in Lynne Fernie and Aer Weiss mans documentary aout ean gure 528 ekg opin (toe von read on soe ior onFigure 528 i ns ey ‘Toute comer este on Ite in the 1940s to 1960, Forbidden Lave (1992), and sere no wiceoner printed text, or on-camera presence to Ted the wer through the aerial FFaciotrtcwd suber are the authorities, In between lea spec ol Pos ‘BB: In Roper and Me (198), director Michael Moore own voiceoser ‘Sieatd, and be lncracts on camera with is subjects, whe oer doe ‘ncnaries immakere may intendew subjects on camera but nt attempt wg atenton to shemslves. nhs documentary Zamna Death of Bonin: (1992) Raoul Peck speaks about the process of making his fhm Tring black lsder he stp sttached © the beginning of rel of fm dean eetced to proce a back image onscreen as he speaks about how es that he weeds to tel ls story about the contoverstal death of {he Alcan leader are missing. Given ths broad spectra, “oie” in Nichols sense ol the work, then refers to ow the lm’ overall perspec nelates with the status of specific speakers the fim Theis book Unhinting Envocertrisn, Robert Stam and Ella Shobat inireduse"oiee” an anaste category order to challenge both the Thy af he visual in film toon and the Eurocensic perspective of film eG key segue tha aces of non-Evropean voles and eutures persist, weseElanetarey snd fiction is In sic elements as ruste or petformy aeese This alogle wr dnble-vozedqualty means shat fis convey atic messapes For exainl, a fln ke Spike Lees Do de Rift Thing ra Macc nthe verbal styles of ke characters and dhe emotions sad “aechinos fs musi as on ual clement and neither ofthese Bevel isdn lceover narration also used in Hetlon films, often ay 10 fr duce esto ary tld The Roel Teebuas (2001 begins wil. "one rasa stant! voiceover Voiceover can ua tener characters subjective See Much ofthe humor a rie Jones Diary (000), for instance, comes Fla our acess to the heroine’ intemal (semi agli) comments on the ee ons cnctaers [Figure 529), Bt voiceover can also be ai eee uta sevice in naraion,ofienting viewers othe temporel oF Pomjation of a stom By slang up 4 ashback er providing 8 tamsition Tait he fim present The sound apd image tracks ca relate to cach Siier ith considerable emnporl complesty Fr example = woseover nae sat in the present ean accompans a scene from the pas that uses both Talat td seus rom within the depicted world. Use ol voleovers oor qn a iagstrporatity prevalent in certain genres sch a Bly note Fenvhich the vaceunee imitates the hotd-baled,het-prson smestigtiee wait a ie Mera works fom which many of thse storie. are adapted. Sissies, nkeeping withthe eucky world of Hm noon heii per Spocine ofthe imeaigaton sah vekeomers prove unreliable, For example ure 5.0 oa 8 ies ey cio ‘Reinssocea hess Sova nwt eu salah we hae ‘pening scene of Ua which ieraped bythe stg lca de scribed on page 185, is contradicted later in the film when she proves to be hve Figure 530) Aeiheen try teva ace ces eae dads nine wn be chasers sor nee twist that seems to refer to this unreliability of the voice. 7 Piha Cn ied Poe 5898 oar ein» lel ars cc ces egg toe fe els Mildred (played by Joan Crveord confesses toa rime we eventually learn shetntcomn tees eres ey cea ‘tips nth ied emepasy pets ne ‘td cometh niger see mally conte rc and acta ee 840 esos rc ay es flied Hulvood film peesstoms fa Tac ae ah cs en tan Sie Phe See al lie ina monicgeetg darwin oy ira re ee eid Eee an cha ra es eng gh Sepion pale sl eel ea eae vce ia tee wih onde anda sense ot asa ee Syn onto nner pyre stonefeces the narrative; he fact that Eve female apd African American takes the [los mplsis on uno storie even more urgent (Figure 5.32) Tiorbce’the talkies were nteuced. the human vice has organived cystery af meant in varions types of is narrative fms are frequent eT alogue documentares by viceovet and experimental lms often ts ote into an aesthtie element. As noted ear lth chapter, some writers supeest that a theory of ole can open up cinema anasto more mean ings than a model devoted 10 the image alone. A tpegh ec have stressed how Frequently fl sound 1 horned othe hae, certainly the eel of {he vce shows us fue cel sound cinemas Invi, Fact, the prevalence ofthe homan caer measure of just how focused he universe of ‘Stoic cinema ison depicting human experience From recording fo ising to reproduction, sound Proutces preg te hum subject, Conrasting Fiywoos! cama sath a tlm whose dialog is uted demonstrates how sound mising favors the humen vice The fl sees he peternchronizd sound used im dubbed fis confirms cur De- deligctmoe cnatwral-way of synching npvoices and bodes Ionialls the Hollywood sumetack fs ely Yo have sued postesnchronized dislogue in {he fon of ADR. technol thot sees Foran luson more perfect shan the original sand it replaces Music in Film Music fa eri! clement in the flim experience; among a range Sees peoides sth and deepens ematonal respons. Musi has are {esa nsdn from fm progrims and many ofthe venues for eal im had reer esta one rn The piano, sw unportant element of publican pi alc amunementat the am of he eth een {uct became. comerstone of film exibition [Figure 3-331, Troughs the silent period Corin for ft steadily developed from the dist: Tomo collections of muse ees that accompanist Unf anembles cod ply to cerespond with appro fate moment lise o falength compostions Fer apcific Rims. When BW Grits The Bir of 1 Nao premiere in 1913, orchestra. plying Sfoneph Ca Beis sere n wih the Ku Kl Klan Fated to Wagner "Ride of the Valkyries” 35 & tujor audience atraction. The architecture ofthe Tied sme olaces comsteucted daring this period tees acoustically geared 10 audiences familar with Tisening to orchestral iste sm a concer etn Ties Sige and ner el sound os were come eet sho fl dhe musical performances of hel stars. As we mentioned previously speech ae it tothe sreen as am afer TRSGAL Suu th the inroduion ok logue presente problems of ae fn solue in the movie places. [Auhosh dhe tem takes for the new sound ins soon took ove, monies of eet aenre-westes, caster hrs seence tion Hims—rebie reit rom he bopnning_ Olen this mic contributes co cateporiing sch lms as gene fms. Vangelis music fr Blade Rute (1982), fre mle, cin ack aw seme tan fim. const Alas Scan score for Gone with the Wind (1999) sets its nostalgic, romantic tone. ‘ofthe contention [Figure 5.38]. Occasionally we are jolted out of absorp- Sogn iecase Nc e s Sede va eae og to let our bsiriers dawn, Many commentators speculate that these effects igcstive. Set apart from the dicgesis and taking place right Sandman ios dering os ee e534 Hayat or el rstwun ib patil lace ina fil refered to ay ee When recording the sore {he condactor watches the fi Tor he “cue to bes playing hat particular (lec af muck Often music enforces story information shough recogni ‘eSccanvensions Action seuenses nthe ana Jones series ae introduce TEs nscale dm ddr duns” a porodof and bute to these rere fisbic heres ‘Thvwugh the use of motive, homes assigned 10 Fa {atu figures, music also parttates in ebaracteration, We know when he main character as ener the see not ony visual but also uray {reat principal characters usually ave a uses mol, The presence of “Seda Maric Hadley in Wren onthe Wiad (1956) signaled by 2 ds nciee sultry theme: Most nobly. mac ts subordinate co shat par of {he narra which competes inthe realm of sound, the dialogue. A music ‘he wil sucly be ole during sequences in which there is no dale Sen helping to smooth a spatial or temporal wansion. When dialogue erSomiate, however, el fade, ks vokume wil up, oF il change Tobe es ‘compaive “eropoer [or clessical inera, suchas Erich Korgold, Dini Tomkin, und Manes Eenette hero st skal ses tos the aceped Teen of fen tsi and many of these pisepes ae ill dominant in erctooraty practice, In Seiners more than tee hundred sors, $9. tedinathow toe Row Kon, Gone with fe Wind, Now; Vooger (942), an ‘tl Merce mesial sccompaninen wor noble for being almost con aa ie Composed using ellek track —holes punched in the itt Peete beara! the ation and his sie wa highly dlseative, empha cha fitwood Hn muse compositions derived fom nlnccenth SS tug for sudioer Hollywood sini for popular music was SAE Rn ror tassel music The work sch composers as Waser are sonal przctpes gh a motives arined to diferent chars, See actors and Teh emotive, tonal and cuphoni. Assuch, was TENeS Sted tote mie experience that Hollywood was strvng fo Mithae ntegtanonof sin. Thiktype of mie was compatible wih Holl sea an Sfing not ony Beene of purely musical quale, but ao Fh stoinions ranged from the high cultral satus conferred on sy phonic mn of Euopesn ren as opposed tothe lt of Ames zz arent econtabieconnorton 6a pala sume, ich Fee orgs ra rere! mid, voli or romance and a harp fr an ethereal or heavenly mood. ‘thes book Unrand Melodies: Narative Filo Music, Claudia Gorbman tise thepincples of componiions sing and eting that elasical lm Ties ‘The st stilt, which refers tothe predominance of Tonle mae (over he actual depiction of musicians) and to the fact That the techmical apparatus thst produces il ins like the ease and ths projector responsible for the image we se. never seen. The tom eee Veit imma ike Raf Rock Hest (1992) stole ths principle and Tien accident ‘The prnsipie of inaudible is analagus othe in [SEESE" cng tle ofthe comtinuty system. This principle dictates that con Sus atellonshowl na be paid to the score. Volume doesnot interfere SSRUeSgue the mora and thn ofthe masie do not contradict hat of Treen and cemposions ase matched 0 narrative ow rather thon ch sca follow thle own progression onicallsreen musica is bes ite do not Pale eo al ahr in hcp to cnvey mately parr ithe open, pve rod apr afhon mise mesa eee cocks Spebod (985) for example te mental sate of lhe hey icon “red bh und fe herein ay Uns don en music is associated with women, who are already aa ‘ios Lin one 98) gee ue see th Ine Heat ele grand by Rachel Poriman’s score. “ r “hen pane Corb css narrative casing tach te how mune lt ts chao ening inthe plo, Kes Healy eel! on in classical tive: violins onthe soundtrack may indicate thatthe characters re falling thle ew noes "Dowselaa hs se nhc oe Coins noticeable examples ate cll stingers end tha force to nce the tetas pearance cre soe Te iva ote wal a he ward meses a aay iMaststng the son trong the core suchas ascompansing aera “ino pe hed egy ek ot ky ly {ipetmeilorme they carats tems oe rth ange) Mo Sint puma tr heh ‘ellaveshenytnlcated hor inpona he sourdack as a whales ‘oa time contin anther nlp offi waste Consus ted by cuts and scene chan are trequcnily bridged by the durational aspect olson dis acon vnc sey ae arin ange np ide amon etwen sen change Ens of ste any pape in the film with the soundtrack eee Faure 535 spd 985.Maton crise srt th lsc ky sores es titlusne af composer Richard Wagner otion ofthe Ges to ae hth cknowiedgmen hat anyone 0 these es my rau il Sipe ‘tremely helpful in identifying what makes narrative flr St pots Is Sogo that Svood suc practice In Hollytood cinema of sucha fare, popula td dance mus Featured in muscl incl of unity, whch ore and Bom unity tothe nse oF at Gorman concludes he ist of principles fr na ineseric of another re. Hers H etvantons have evlsed and changed since uth herent Tien composer of ls ofthe 1980s a Fes of he sudo composers of err va tale cosh suport and ome Ficance nis frm Star rs to Home ipa recopnies hs sles consistence with Ho the studio ero, nnelasica muses ses jg be used as source music a a hor nconporaion int backgroud susie 38 teat Oe of he eft othe neglect of Ameri musical ions for EP European iflances as thot Alice American rere vedere los Ipoties Areas American performers Wen Ba they ere thereto provide entertain Mia cane tere were almost no eading the tine [Figure 5.36) fins and performers ee ie they weve invite sm malnstea frequently feature musicals fat and weve rarely integrated example was shametals Unde jes for Aiea American a erearsgate Hecame more popub, jaz themes bran eased im mots of the F94Ds, Henry Hiss Fc of Ent (1958) eb and seal In Martinis musi for Orn ellos Te ee seores but usualy on when depts sae eeed tor example, to signify 2 psycologist ance Te ard Ronen for The Cob 1983 SARE a toe torte ema With she has to inthe posta period, sca om ie Salted u-nll Modem and faanfbaenced ares SSP VSt oe common ayer audiences Nee oe icough more individualized famakig pects. rth fsa oath great adn ofthe al on sls Bgan o ab cst ok Since Seno erste Him experiance, even atthe cal was fing that the lst efor ofthe wee dom ons wos the big bude PE UMaion to dominate ove + dle lel because in many evs the musical PCO Fie 536 EEEHPEES A ogdentrainment Despite he phenomenal access of The Sunde Ce ponerar anes atempe a udkpreduced Mocks musicals. suchas Boctor Dail (1967) and Francs Foré Coppi Fa’ bow (1968), were bowolie disappointments, het fallres inicative ‘ot achangeinmonie cltne “The musical had been a perennial favorit, fran the early sound eras backstage musieals fearing saborate Busby Berkely numbers (Figure 45:37] tolate musicals hat integrated songs sd narrative, sch ae Aver feo in Pars (1981) and Rogers and HamymerstlsOeahome’ (1988) for fing abiding ahs ofthe US. characte: The sia gene ofen followed the Drneiples of clasial nate fim scoring wth he den of podcton umes that pose reed infilm masies audi. The opening eof Rouben Mamvallan’s ear sound lm Love Me Tog (1999) i pick upby characteralter character avi they can alactualy hea the backgroud music The mann ‘hich muse connotes emotion o spn in Hol ‘wood ns perhaps best lasted bythe musta ene, im which this Feting erupts in 8 sty world Sshete song and danee are expt, Even a the stidios ed to prolong thelr dor Inance with Spectacular musica Richard esters Nims wih the Beate. Had Dav’ Night (980) and Fel 1805), sucessuly reveed the gence Toran a geared raed youth ad dominated by popular busi. Althe eof the wet contr, lms tom Sica noable fr thee styliztion, such a6 Tod Haynes ee Cline (98) the Coen ers Dancer re Dar 200), a Lata Mwai Ronse! 200), updated ihe genre. Bur by this time, 00 hat ound thee ‘was onto soundtracks though means that fen dil not teu te su pension of disbelief demanded bythe olin utopian word of the mse Few Mase Popul songs ave lang ha place in he movies, pe Shared by geo tie groupe Shee mca coding sals te po ‘able its even btore cud cinema, Inthe 198s, however Ihe pctiee fing the affective (and commer) response of the mtenceto popular tusk ona lms sundirack ws wel cotablished tha the pop sar be fan to ral ong composed oni Annercan Cf (1873) pet pute ths trend wth ts soundtack of stage T9e0s tunes ea Te thon tuough popular mule The eentaliy of prerecwded musk ve. feced inthe increasing impetance ofthe mule superstsny, who sees elec the rights frst be tsed Fins Inthe sonnet Vinienced in wth pop muse scoen, such ae Foner C98 {he promarion ofthe soundtrack a important stole he a ta the 185th proliferation o the popsxindrack dre the fm experience out Sie te teat othe record toe, ad mute videos began Melude Este fom upcoming hime Aldiugh theme songs have ech eumposed and promed ith ns for decades, avn Love fs Many Sokal Thine (958) to name one ithe contemporary mone hss hy : tha and recoding 1 such clove busines elatonshi that even ins without pop oundiacs often feature a sein song inthe em-credis seguenecs, The _itanels sees im carers of musicians Uke rapperactor Wi Sits =ponstate the increasing symbiosis ofthese eneranen! Mad Figure 537 una 95) Ry Sly canned—_—_—_—_—____ gE Sound Effects in Film [Although dhe novies can represent he word in many was their copay Alea yume ination, as lays faeinted audlences. Much arse impression in cinema comes rom te we of sur elec Oi tadh kar specs of the soundteack they may not be consciously aa yee Dialogue in im is deiberate: tll» fry and ives sa echavound mse clerenfacement, “unrealistic we talon te fe Bu sound effets appear unmantfactared, even ac Bae ati una ofthe naturalness of elects is rte ecanse the sous dental The Sigs delierstely crated and because in daly ble we hse ex te pigltaus sounds se Muorescent lights humming. erekets eat eee alte png by. sounds that might pea to be added 0 Shee reli” sound mx Te teers mote that we her selected nd these effects ge ee four excitons of moe sounds, Viral shine appears aly cory doe ot make ie corespanding nose gs bark, babes cry Sree tae Hews up in cuter space wl usualy produce acolo Maes ugh there sn sound in space. Ifa recotding of. 38 reer aa a ga oi, it wl be dbbed wih a louder bane, These ding to itm gene. Traffic noise wil be loud ina Seton tn ise the posses of the vio a A je sound of os wiikey ade sway wes lif en au Forherore our sense ofthe oe of sound elects se se rectuner nea interes with in scholar Esabeth ae a Michal Kuehberger consents hat an “older im ke Cs aoe rly sountack compared wh wha we do tay Tracks aac sling point he etraoranary dem of conten Faerie ke mons exemsve us ofthe parcuar properties of sound a necks baal in new technologie apabities, Dt ca ence of improved” technologies this progres snot in aaa hers development tht flows parila Meas and 03 Shou hen are ies to remain uostated Seti are ono he most sel oa te tuosdmensioal image then they ae reproduced n the oder cal pace the heater Ako the sre sel ony ar cto, hm presentation Makes use of he drestonal re ne rho may come rom the letand side ofthe eee. Fee macy ie mie adiional diegetic sounds such as thunderlapy for rate han were ot prevent on st al addng iia 1 8 San Ae Ang cound effects, soch asthe hoot af an aul aa eee seg, both expand the sense of space and conibule 2 1 ar cy coded, een ced ways, Adng te cank of tens 0 I ascen converstion to the soundrock when two cha The very anne which a et a alder cient seundstontep, hens Sere Math na stomach-are not even recoded the same time cot Palo, Rather, thy are ide ocr by the foley art 8 aan et otbing diferent poses of abrie hing ole ee Haneef ao on Our sceprance of these slated seroma Phone etic hesirenliot ov ngs to peecre fects elise of gving an Impression sites are pasced fr a soundtrack hs 3 pricat Ora The Piano (1993) Tssstancae eee ‘who traels rom Scotland to New Zealand with her youn doughs to Copel she's never met takes its title noe from the vel chaser win ac ce ees surprisingly, piano music on the soundtrack echoes = sarmind a great deal of the fl eto, sea Sandra Boss Ade sate, or undetnig oi vie a2 moltam of sect even Stempel omn te son fea Jaye tn mae Ask prc peer ees tos Al Ada cat yk th i prada wth ele you bear is not my speaking voice; it ts nay mind’ " lnnorative use ofthe voiceover dice lls us acces lo Ad ines world ‘en bere we bate cen he pone conning oh set ne woieover wil nt rturm nti he wey endo the spe othe silence of her piamo, lying at the bottom of the sea, notes and sign language. which her daughter, F misiesso ten ccna Sivndstand Feroaaineercnoe means at ches yess wil sr srg she mother Sictakestp sone tke ween theienertnmand abe renal ec te bor sepfathes, Stewart. that her mother isha insanity Ado Goss Bane thenerecron er ban pana a ‘Sales another level ofthe filin's use af voice by x ‘Poe Moontown age fasevoieover decane Taf ysl se frcmse of my ne Se ‘speaks met direcily and elytra : ian expeniny trons ‘sme When Aloond Poa nave SS. Zola ey sreunmddon ie each "gt Aare pnt pana Salat enough aeacinte py whan hd The mus foe lh we hear he sun ca shy Plug and of once inlaid the feadonaf te seuseape eats a Miks back athens snd eral pit tte none cnegetc musi, which then provides continuity daring the shes of ceil character In wen she speaks Subjectivity through Sound in gure 5.38 hi 28 TeToupee pe hei progress across se ash ut dial Poss conscting bee ack othe ace eit ater daring aston when donee he win of her new home, we seer (atthe plano on the beach Fawres SS8and 540) Obey ts not a er Fa nondgeie pn msc ht ecOMP Tis the sh reac the pec Aa ha be weak bosch, taloung the prep Bera gee seeme To be armed By the doundtack, the hse interplay beeen tienes onic deste hes tok os Ran te subjective cemer of hem er ns rans ct Mother” laterestingly, however. plays ‘ro by wo nite eu compossy Dt He 7 0 Heee ithe beach and to her piano, Music comes in as a sound bridge be Peat Skene tranition, We then see Ada playing om the Beach, a5 the ter defen binds and Flora voice reinforce the at that the uses ein which Sell her th the metaphor of music se woke ia on oar quite dniberlr sl atone Iai effcts such a ex He es saa im each certied vense. Sound effets, ike visu} iter, dros oe crs sod so te Hlwood Fv etjcular aunsvot noise assigned 10 him or her so that the uh ed sequence without dialogue. Function, sound fects have ns fects eiting Inthe fils deve may have parila seton can be allowed thoughout a protracted Alor winessing this scene, Baines pur ‘ches the plane fom Stewart and makes 8 proposition to Ads. Tn exchange for eit Eevors he wil get parm back to he hey byes: Muse remains associated with eet ‘lm when tht attesetion becomes ta ‘Ads hushand evenly catches her with Baines the overhears and then apes on ther, [Butea them shows i thie pot Fe Scene in which reiproeal passion, rernoned from Haines’ inital objectification ‘nd Stewarts sevens sic bythe Beau ful nondlegete piano accompaniment Throughout Te ano the heroines point gue $40 Thea) Te muse toc iinet he ‘of iew and audio perspective are central. Pare soa hema, This s powerflly conveyed by the sound track even thongh Ad mover uses the synchronized speech thats usualy ‘associated with eharstes desires and intentions. The fis soundscape fe filed withthe rich nee of the New Zelara landscape The suck af ad fon the characters’ sos combines with the rt of petits, Biss find sersch. rap and ind clamor for attention. The wid lements ae associated wih Ada wildness and the sharpnes of er heating. When she lenes Stewart and orders her plapo town overboard, tae sounds ce nate with quiet, mysterious tnderater nosey as she pled nth Sea. She beaks free and surfaces as her voiceover vets to narate th ims ending. She has followed er desires she and Flora yo to ive wth Baines, and she teaches pane and begins learning to speak But most portant, the musi Ada (els compelled to play—shen she heats Baines Feaving. whe she walks is er sleep-vand the musi hat aceompanten sie neat moments nthe fim, assisting trnstions and narration. are sss ‘ated with her even will nd sensuati In melon that often suas bine women, Campion uses saundtrack elements to endow her he In with sbjectivi The distinc soundtrack Js (173k us ot nly hat has ne Cone the le the sharks mass mat to sa ile’ aed ot seundetec ne The fm seknowledes 8 pedecesor inte tome Sd nthe ngenies eof sound-hen the Weft shark Ica Tanied bys sound let of prehistoric bests death fom Rg on Ta thee monster movies. sand ects take we beyond everday eens whe Ase ns he aint i states the erat designed uve ound aflcts parariy we Infact nus crus sacs ts prepared inadvance a the msgs he resco hteacion mang Cartons thus detonate expec wel he sehrontalin of ound {885 or etme Diy Ducks bale the canbe in ban ed nna flow the gla hs mschieusaintor Al sore stop ‘cial him, andthe aba semiaton a the oundiack one theme Ainushing ohne mishaps Sounsed are et comets sence ne—_—_—_———_ Music, and Sound Effects fn eny cic es fae nein you vl ser retin das lo rede cewe speci vokaoves me sed hatte acon nd ‘get sen? “ryt cl x rah as you can fhe as soe af ole vein The Table im apa and oy par atentn os ms. hfs ce ‘Joon om hs case tetris opulr musica How dscns hones ont tthe t's mesg? tn Twat ented sou fect then’ ese fet? Con Cae note me sowed effec ar prin reese fr ceing parr inpession eat, aon, of a? faa prt rein sca eens spac epee fo comeing Tilnsbetsthe Soeator H ace mscansund ees ws ge? ae litely to ook arond usta se whether the heater’ sound syste ay aera ieeDalty nods past demanaing “Sound please?” ar being Fa Forte ih whieh simator bas provide him. But che sound (eas Eft a machine gun, demonstrating with this sycrenizason ee ui sate ofthe standard of matching image and sound: As Far ores suggest und effets appeal to the audience subtly bd sscrll Points of View: Values and Traditions of Film Sound “The sounds ofthe film experience ld on audiences everday social an oon tothe mores srymediay and aensory eh os len by Louis Gottschalk score for. W. ray the simulating iterations betwee the cr fusaons of 2001" & Space Oss ad Alex Nos orginal mt tf the indelible ural yeord of Laurence Olvier's performance Se inks (ida) or the comical sounds of Jace Tals Platine, ove + lous experience ol wat the world sounds lke while otcnvey what scem fie essential tats Tesore acti mens Whe i the pal Gratis Bro Blossoms esting to sous pose! To Authenticate and to Feel Sound is all around us. Wile vision depeads om an objective distance be Sound is 2tenerand the isved, sound comes to met Us. Although o ye isa dian psa premium on seving over the es senses 38 Phono ving this raion there & also song curent tn mec reves deceive Hearing an then scm more cial, aera eh i associated seit the voice. The voice comes from wit cia laneiorigy hese dep and authenticity, We tend o trust ha We aa nthe peveepal experience fll Tn this framework, vim values asta with the use of sound inf som san gee seer the Aes tea Cg than ie nage ands re ach ofthese values exploits specific aspects of lm Sound. The sense of authenticity depends in pert on the techie of sound reprodction. The emotive ‘apacttydepends'on the kind of sound that we ex Perience sich a5 a parcular pce of rms. ound seems to permeate the body of the viewer in 2 ay tht image alone cannot, aly that com Tributes to ts athentieny snd emtion “The assumption that sound gives the Vet igure 549 fa inspace is supported by the preerences established neve nmentehsnt in leaned cigs old recording the and eoducion fy ne hve etn tug the Comat nage snd son that we soa an ae epee fay sn {Ricein Bon toe i950 mle nine iSituay Fgure 8411 1s pepe Stic er cna to he in aperiene’ Foe rounding sco oes hove coe king ad xr pete oe emp th hte’ nratindmatcomersnion, Sones Sheraton hein ‘ot being hemseles authentic” —fer example bacdgreund posi all te {Sa cata ple inthe fconl worl fa bg to sem peace nd sel The her thre of TT (94) eel oie te streets of postwar Vienna, just as the film's characters are. ie "shar opin mk aren or dr ‘concretely sound encourages the Viewer (o experience emetion. Sound ie a Sc move dewey hes ee Spa este oes ever indus Pk when, on the dial soundrack the FRx foo es can be ard approaching the ik whee the ces ure $421, Sinpiy watching the d sid ba lessor “ec the work 10 orn un thi new space wy hat feels wemut Weandser, ets se! Thaw nu necosly measured be teal see nated Sy Np Fe Wt hse ouch nd i hts beard ae lo_Athoxgh fi soul cam have great deal of complet, ad realm is thon tthe window eve ine bockatound music appears, auentciy {emotion ae fen seed bys sbordnatin ofthe atonom of sound Ames ven by he image In sontrat to this practice of sound-imoge “Ghuuity however a compening approach explores the concrete nan of SBENR and thee potential independence ofthe images an of each ether. ‘Tis practice of sound montage which characterizes the fils of Jean-Ls Gee Sd ahers, does not seme the values of ethenticiy and eosin: therm us consi of thir ilation by calling tention the 3e- ‘Ralsound cording proves o asking ws 0 be swvare of and elect an ero tonal sus ‘Iwo Traditions: Sound Continuity and Sound Montage ‘Sound continlty describes the ange of scoring, sound recording, mising sept shack proses tha sre forthe wacation of meaning nd expe Be Midussuing sound tote ms othe naratie, Sound montage Pemind us that st as a i bl up of bits and pieses of ellos 3 ‘Ruindirack i nota continous eas of sound rom she real word, but is see aG lf sapurne ements whose relationship ro each oer ean be re Soeieisanpulsc and eft upon. The theme sons rom Decor Zivaa2 Uibee fe exremely lush and vomante, butt reofoces the big emotions of {he bls characersat appropriate points nthe plo ad ts achieves con- Mery Ande! Tks’ Nostl (1988) ough dhe sound of an eetric cee Nhe heard atfeens tines nein dilleren settings the ures is ses eveaa This ambiguus snd functions as an clement of montage Font assumptions, shared by teciscans and viewers, about what const re Se soundtrack enphosie s contnsity approach Howeves sine {he introduction of sound. mans mmkers have wee isa separate ce roar mmtageeflet Wal he iezeasing sophistication of audio ech Tees posible tha tua montage wil ined more preettionen "ee i that aeres to sound continu cas be red re cath pecan really hearing the soundtrack demands such atentiveness SERS RSeSeen matching up actors voces with str moving mand ens ‘Ayuieworde ate itlgible were among te aty goals f sod ecole. ‘Nudkncrs were tilled jot fo sr He mac. Despite oor Lamia with aaanepsea te degre of redundan betteem nage and ound i the cont reneeactldon ai makes i dial 1 analyze the soundtrack auton: BSAC Bo the promt grated to syacbronization. we can define several ‘Compute conti practices, 1» Therclationship between image and sound and among separate sounds fe mosiated by dramatic action or information. fe Wee exception of background must, the sources of sounds wil be initia ‘a The connotations of musical aecompanimnent wil be consistent wih {hs vag lor exanle, funeral mach fs unlikely to aecompany 3 protagonists, Mavowe and Vin, begins with engine nase in the {oud We Se that tere na dogo th porch the opening senso The Sart 11950) when ne heart bats hea ome Tere Intonship bese imege and sound and among Separate sounds seo ‘be movivated by dramatic action or information. In The By Sep. the en nena nil on appr econ oso theca sel fone. The continu use of mune cots soquencs of charter ae taws ou atention ava fom discon nthe age nae Fr camp onmiousorchesral mune nk thevecarchmumege in See (Is68) ttn bce ao ha se coin Seok ol han scat itpestiely pursues Sound should it nite onthe narra. Ui ‘notated oc unidentified seunds wil no hatea prominent place on he sound tack, Nor wil unidenifedspeskers he hear, unfe n'a eomenonal Gomes sich at documenan in which te viene explana ll romsate on com th the content ofthe mage. Chara ‘pecorino sonoma oa echnolog and techniques have developed In carson wt thes ai. Bailnaeton chology mrs yf nes nalts sy Nos mee fh he oad gd can fal sterton theft hat the sod ee rend a thas athe film was made. These are goal of eootinty rather than of ste elim Ast chee John Baio has ebscnedn comtentons hse desloped in accordance with whol the moat he wold sounds like sh ee mentary and native adams ten to ey on sound cont Exploring the infinity of sun sal age Interactions, an imeractions among sud nd images the vice f montage Oe ering rae nt opin whe pps own omy Fonte cat tenn the iin etonnae cements tht makeup favsaton a Gow ss allan aeicerncnal Sasa ee ‘scent cinema, Berto Bch, whose wings abate ate decacd in chaper called fr"the separation a kamen ha would make soe ce ahem ein ad hs the rena ange Sept xn age oe the os conceeitasrations of Beste pine Like die : ting pci, sound on ml cpostiony st pai ond monte da a sry i uralistic noise is frustrated Hansteanae stow of a closed world se aetiteaiae a Iighepoed chase) 7 a 2 FEES emphasize what we shoo pay aenon hen mshi setonships—for example she ‘ 2 Edt hvala sun i cece aol oe e iret ameren thn an sph ston enon of x nal wenFigure 5 te 9 ee Shieved by combining different sound “images.” Voices are lavered in Mar and sound. He alo collaborated closely with com poser Setzey Prokofew to make a flyin which ‘very picture edit was influenced by the aocomny, ‘ng soundtrack, German filmmaker Uribe Ounge’s aula XA Absolte Ruler 1999) makes ingens ‘use of postsychronens sod. Hers ote re Df femele pirates donot speak inten, thelr move ‘ents are "synchronized" with noses ike sil rouls or metalic sankang [Figure 8461 "Experimentation sith sound: montage began withthe tntodccion of soxnd an as flee ei. Keren subrodtins, tao hich we wl consider hate Filmmakers such as Jean Vigo and Rene Cla In France and Rouben Mamoulian and King Vidor in the United States are denied wih the poste use ‘of sound montage inthe early sound ev In Hes SichasMamoulans Ajo (1920) must andelets do nr duphcate the mage bat erete a more sub: Jecve selling French director Ror Broo fakes Spat the ustal lt beoveen sotnd and Image by 2 Iminimalis use of sound. La spare filme sich 9s Pe pockat (1959} and Ltt 1988 tl enn themes besap pura ea Insaco whe sae HS nad wath slight aeration bythe voiceovers in Teh T a et ly ace nomen cley edigl—coe ents, montage calls attention tant each contbtes fret ist primary eon ol montge extended eas fo wonnd even Pelee wom precision, Ax NO ate Pipa sa he cxpemented wih chat be calle etal monage.- eee eee ed bah te smnltaneity of and thediflerence Bebseen Age ae 545 sar ent 38, in tes St predestination and foation throu scruliny of Seta, Bresson acne ane presence of est Sounds while reusing realistic indiators of space igure $47} nhs wings on sud eso sms Up hisSdeas: "what efor the eye must nor duplicate what I for the ear” Belpsn fimmaler Chantal Akes ‘mam also achieves @ hyporeait ase of sound In fl suchas eee Dba, 23 Ques Commer 1080 Braseles (1975), where the elo of the prota ‘nist highheels esnates Tong afte the Wins ages fade, Without the use of room tone or ot tee niques to ge spall evs orto make sound warm {he minimal sun nthe ils of Bresson and [Akerman become very concrete ‘rig Veto coy sound Him Busan (1931 Insoestes the collection of documentary sounds and ‘xcmplifies a collage approach. A clock ticks over the image of tolling bell for example. The Soviet immaker was keenly inevested i sna his work in radio and even his poetry showed fascination ith usta noise ean-Lue Godatdls many experiments with sound collage, which be fanart in his area are indebted to Verio's lor atime, Godard worked fina collective called the Driga Veriow group). Gear empitzes mst the organtzation of many ot his ils favorite techie st inerrapt musi ue so tha i Herally cannot fd int the backgrnind In Fst Nere Carne (1983), 60 actually se 9 sein gustet plang without knowing ‘hats lationship to the story space night be. The abu easton of 3 Souttack element may’ be extended ta voices and effects wll te the ale scene in Bond of Outsiders (196%), ne ofthe characters sues at ihe renin the group have nothing Wo sat to cach ete they shod te ‘nin lent, This elegedc sence is conteyed by the comple gestion a Sound on the soundtrack, something tht rate ined, By using No Suthoriauive or noneontimaas voieeners swell geet voie-off aed Inte ihe Sa— eer hekcerpicanpeemens Goer cha iene the aur role othe buman voice hg Sfnge becomes maleate an element in el Simeoning : "tral examples rT bin (A wel (asthe by God ad ean Pee Gorn Uae te ates The fn et han wtih ate ress hi mention UF ect in lesale sce esp that that Sireque money te age shows an EGR forthe pect of the To a IMB in anther seawene, one of the so treats pcs ae tothe camer abou hs oeeor a 2 pointer tured director of eer leisseate et toa camer he Sas tute (ih mntuceodods niet nana des so. The spech makes us think lous Gadarcs craig ee Sc eas SA) Te Sd aera ay det oper spl br et ince or soundings). aa inthe release ofan adi version of Fi on cers Hinrctl da eine (1988-1998) Over arbor than rasa ae car Godard has earned» tepatation 3s probably the most ex a erat mages ty th wns on te sunt at yk uate onan Geran Har Asan $B vicwin cues: rim Sound watons fand Values 1 ype ne nee Go te te Ae ena em een ae eal word, I there were no sound inthe fim, how would i fee Hes “reat” 1 ccrcorycnbe cee gry Stee eens nme cerned sone mc nh sea Seer mel dagrg beret go rane cae eugene ‘ater Values and Traditions in The Conversation (1974) Francis Ford Coppola Zoctrope Stadkos—from George Lucass mere cen Graft to Cappoas ow Apocalypse Now: Arpong the decors mos Inspired collaborations with sud designer and editor Walter Murch, The Conversation iy alo notable because Hs very topic fe the explaltatlon af Sound technology. While the films own sound conforms tothe pines ‘denied withthe continuity traiion, by swe of ts loregrounding of how sound is created and transmitted, i cam also astra the aime of sound montage practice, [: the 1970s, some of the most innovative US. lms were produced by The fl, sot in San Francisco follows the activites of «sunseilance expert, Hany Ca ptyed by Gene Hackman) a5 he foes about what seems {orbe a routine jobs eavesdeapping on par of lover in the park. Harms ‘sports and interes in technology lave Hite space for human contac Sd complement hisrather paranoig character Inan cay scene, herb Is landlady request for keys toh apartment in cass of ite. Tere would bbe nothing persanal to rescue; as he saya" have nothing personal exert ‘ny keys" teresting, Hare’ bebby is paving the saxophone. The warm Sound ofthis instrament foreshadows his eventual avakening ta the mute himan dimensions of the sums he records fora ling "he fist sequence ofthe film fas tur de owe of sound and image ‘counterpoint, which makes us partake i the ath of saveillance swe Sctvely attempt to decode what fs happening on the seven, Eavesdropping hance the sounds quality of preenet: ve fel we are righ ee Inthe Scene. Yet the actives of the om camera sound rors make sare ol those ofthe records, mien and director Schind the scenes, ust 983 Sex montage would The lim opens with slow crane shot over San Frat Unton Suse \which is aeompanie by jar mie hose sound perspec remains ct Slant AS the music aft rom an instramental theme tothe banter ft Singers. and asthe habbub ofthe busy square and then the apple be ome audible, we recognize thatthe mute fs deg cong fram th See even though ie can at Rise se the source The musi festive std ‘motional connotations are immediately recagnrable. Yet electronic inter ference comes very cay an ve best to suspect that we ae hearing the rust rough a device "within the Hae wl as through the owdspeaker inthe theater, athe emotional rete urns sighs sinister: Th the next ee shoei remains fic ote wh the obec of hes vuilince is and who the objet of our attention shold he. impart bese he sound snot mixed to emphasize the acton Indeed, is the gestores of mime, taunting through hie mimicry a Hgure whowe eruiled rlnceat fgets a deste Tor anonymity, hatte me iste’ on the fist sei Shot if we want to lle out Hany inthe cow. The sem stalker stalled Finally shen Harty enters a van where his assistant sttioned, we lem Ut he ager ea soung couple, Ann and Mark, plays by Cindy Wiliams fan Frodese Forrest [Fgure 5.38],a ee Fre 5.4 Tati 57) ree on cae Figure 550 Tene 928 eso canes 3 be sound mix inthe scene gue complicate The ct the st ho ice a eel corespons o9 nota stn Sound perspec {eh an inereane In he igetic sc ole, Oley snatch of ra Fen jcrdlowed by asnpper lantern te Fert ate sucesso haley wend or us the arb a em sound ising procice that folate immediately Sinn chold py steno to. Thecoens of sound pest Yh SSMS fiacaion wen we sce bth Hare and san with ae eine poy To lhe cauple wes ath An and Mask as they continue a conversation about a drank passed out on the park icy invome othe comeraion dss shang sary cs thea Heol convenaton Ad ance agin whale em Faeseeeetat' ec hear the comersaton-—is revealed as sound proces ‘Mth eres homeo a San Stee ape weer spinning [gue 80] ther ramen “Ei rds cms, ont eroding so a wee aaa ict hrvgh several ef egtpnent and rough the aur Terie of other fener ae Foe ay bens sen is recoding for mene th just The gui cf te reproduc ion, he will play these few lines of recorded. ‘Ghetto arora neuen theca ts cet sa ea ite Bul ary he coupe, pesurably engin eet oe those who pay to havechem watched? Anal what is the tical ial hich there wn era py eon tee I faenand he ewer wl sve find te rth behind the sounds etch and ese Bes ct ence waltionson wish dn ideo fa o> a ae a get ent cena owed fms ‘epture inthe square. We powerfully fel sounds ability to testy wo pes ‘nce ina particular space and ime bythe emphasis onthe value of Hans recording Tovtrd the end of he scene a new sound sleet is ntoduced. A non legtic moody plano theme beyinn a he couple prs the musi cones ‘wih some street note Inthe mie as Harry starts home. The pire cales lover the disslve tothe next scene and es usta Hare tt the hey St his door hen is abrapaly replaced by a shill ound effect, his sre be ‘ng set of, Our newly honed attention tothe concrete nature of each oud tlment encourages uso evaluate hi ondiegtic msl ene Asoited almost exclusively with long shots of Harry making his ay aroun, ‘he wandering theme played on 9 single instrument underscores his sien tion inviting us as viewers to fel the emotion Harty attempts to keep thy Alter Harry reves home we se him playing the sath sound of Ue snvophone i very salary: coanects Harry othe piano theme vee hs heart as well as othe musicians inthe park. All hee ofthese wna fments though distinc are je. Jaze¥ omoations ofthe urbon mish woud estas dhe fit othe gente ot Ri no thong begins in bro datight. intresting; however, Hasty play hss slong wth eco player Syaching up his own performance of the expresive uals of isc with Irerecorded sound. This emphasized by a shot ofthe record spinning ‘Sach lose-ups of sound ecology are frequent nthe film and reminds ‘ofthe source of fim soices, mises elles, Often these cay ae ‘motivated by any characters specific steton tothe sounds elng emit a that moment As the fle progresses, Harry becomes increasingly suspicious of his ‘employers intentions ad iio dhe evidence gather in he fit scene inthe form ofthe ape that he tums apn and aa. The Mins theme a Paranoia ind a pertect echo in its setting in the world a sound tech "Eneropping. and suvelance, Becatseof the clans to presence of sed thincsiminatingadotpe, wi the acidemia mite and moses capes, ‘appears ea” and convincing even na ln that is constantly sheng a "he paraphernalia of sound recording, ising. and playback. By empl ing tha truth isin the words spoke in that ist conversation hein py hk the privileged reltonship bewsen the voice aad ier ature, while also fscitting Harr (and the ane) denication wi thor hums trough echnologial mediation. Sourd ised inservice of narrative, but the natathe is about the uses of sound. Despite the peiod qusinness of ths nowobwolete machines the film lingers on—necl--oel tape tecorders ant ovesinal headphones, the squeaky sound of rewindins: and the me Shania lick of elashioned buttons-—The Conversation remains an apt Commentary’ oa the eles an practices of sun technolo. ln their richness, contemporary sounduacks draw more and more on ‘montage traditions of layering sounds without necessarily enc rane Nection on the discrete functons of sound and image. The contin a hon that subordinates sound to Smape and accord th sere reais sill dominant One of the most interesting fs 4 conlrom question of Sour! practice in Hollywood fm is The Conversation (1874). Alvhuget ‘des nor depar from sound cana in ays that sn experimental might do the my aoke lowers to consider the meanings an lees 0 Sud 38 an autonomous elementcr TICAL VOICES: MARY ANN DOANE ON SOUND, ‘pe witenp of inapa ninco ni cept fo" a te Pace {Sn en og” (5, Na Son Dons ages Da en eae roc 2 Rites she pan eves ote phe he seul pacies tsar e Ett he cs toed tem Rr sarby on on Hci “eget Ine soaring tee Thur the language of technilans and discourses on technique are Sptomati of pail Kecogial sims... The disregard ofthe sel ack othe kn of theory --- dows not have Hs counterpart the eet practice. Holly has recognized the extent o shih the "sup enc that i to say sound, con falrte ad transform that bib is Epplemented. Ivan industry hose mjr standard, n terms of produce {omsalucs might be summarized as “he less pecevable a technique, the The aura tn> the sii of the work on Sound measire of the stvength of the sound tack. ‘Symptomatic of thfe repression ofthe material heterogeneity of the ovine fi are the prices which ensure elfacement of the work involved oie consicton of the sound wack, Cats the tack are potential ind {Suorsof that srk, Inthe editing of opal tracks, s was discovered that {ht oncrlapped lines of 2 splice caused sharp noise in playback, The tet- ‘igus of “blonping wae develope to conceal what eal only ae 8 3 ‘Gang reminder that symtagmotie relationships ae not Tou o narra” but tmanfactured. Bloping isthe -rocess of painting oF punching 8n page tangle or diamond shaped asa over a eplice and results ina fast fae, Tides elie, The oles objetivo these techniques dubs that of Continuity ediking-—the effet desired that of smoothing ove a potential [real of gnranving Now: Abrupt ctson musior sound flrs are aided nfavor el the homozeniingefecte of Ue ade or sole. Obi Sue therbsene of sound would gna a break ian otherwise continues Fo thas becorne & major taboo af soandsrack consiicton. amest Walters gestions fr sound the sreening of roogh eats tnuicate the extent to which the yahies of continuity ar fulloess gover techies Mi assumption i that ot ony techniques of soundtrack const canbe ve string to all eoncerned in se sercening of rough {ute when the sound tack of sequences Inomporaing rte shots Minis goes deed on the eu. lt Hs bale to incorporate even 3 ‘mporary son fcr a cover hese shots so thatthe normal Mow (lsound finierspte, Normality’ i established as 2 continuous Oo, andthe absence of sound nine Lingwoge othe snd tecnica ss death.” When a sown (uk goes “dead onthe cut the tanegresion sone of theological mare ‘Deak and if are conse metaphors associated with sbend. A toon stage wil low reverouration potentials “dea” ard In postyneoniz CALS Saberaion mus be ned so ive feo the recording. Sound TgrisSken deserted os aing ie othe picture. And the life which sound ness presenta os one of natural nd uneodified Nowe Atma, ih Snr So Prt New Yk Rade. 192 ‘hogy’ that dresses the underiheoneing off sour ittaced by the ‘chor indigenes im son an es 190 his alae work by alana thot oti sound, Choa sree heir aateretctearey ges ‘interrogate the experience more precisely. aa Gortman, Cats, Unesrd Nodes: Naratie Fl Ase. Blog: td Unser Pes, 957A thorough eraminton of ho mse works a eT Ec ar angen er and 1930 winery ecg Lan Paar ot, Bab ae Bon ih in Soma: The dP New ek csc sn one tn i Shes mth Sy nape Newest ee THE NEXT LEVEL: ADDITIONAL souRCES