St Andrews Research Repository

St Andrews University Home
View Item 
  •   St Andrews Research Repository
  • University of St Andrews Research
  • University of St Andrews Research
  • University of St Andrews Research
  • View Item
  •   St Andrews Research Repository
  • University of St Andrews Research
  • University of St Andrews Research
  • University of St Andrews Research
  • View Item
  •   St Andrews Research Repository
  • University of St Andrews Research
  • University of St Andrews Research
  • University of St Andrews Research
  • View Item
  • Login
JavaScript is disabled for your browser. Some features of this site may not work without it.

"You have to feel a sound for it to be effective" : sonic surfaces in film and television

Thumbnail
View/Open
Donaldson_2017_SonicSurfaces_AAM.pdf (312.8Kb)
Date
25/05/2017
Author
Donaldson, Lucy Fife
Keywords
Film sound
Television sound
Music
Sound effects
Sound design
Surface
Texture
PN1993 Motion Pictures
Metadata
Show full item record
Altmetrics Handle Statistics
Abstract
A significant concern in discussions of sound and music in film and television is the relationship between sound and image. The topic can range from the synchronisation of sound effect and action as achieved through foley work to the affective contribution of non-diegetic music, both of which contribute to the density of the fictional world we experience and respond to. Yet, unlike the image, sound is not a tangible phenomena, so what are we responding to and what do we feel? In order to address such questions about the material impact of sound to experiences of film and television, this essay will explore the affective materiality of sound through discussion of surface. If hearing itself is a tactile process, a result of interaction with surfaces (reflection and reverberation) (Altman, 1992: 21– 23), the correspondence between sound and image involves a number of relationships between surfaces. This might be most evident in sound design: the ensuring of surface heard matches surface seen (for example, a clipped hard thwack if someone in leather shoes crosses a polished wooden floor); a lack of reverberation accompanying sounds made in a cluttered room with soft furnishings. Moreover, sound design is a textured process creating a layered sound mix from multiple surfaces, the qualities of which contribute to the overall nature of their interrelationship. Although music is neither tangible, nor strictly representational, we can still discuss its surface, through the ways quality of sound is modified is through rhythm, harmony and pitch, and in reference to the surface qualities of instruments.
Citation
Donaldson , L F 2017 , "You have to feel a sound for it to be effective" : sonic surfaces in film and television . in M Mera , R Sadoff & B Winters (eds) , The Routledge Companion to Screen Music and Sound . Routledge , London .
Publication
The Routledge Companion to Screen Music and Sound
Type
Book item
Rights
© 2017 Publisher / the Author. This work is made available online in accordance with the publisher’s policies. This is the author created, accepted version manuscript and as such may differ slightly from the final published version. The final published version of this work is available at https://www.routledge.com/9781138855342
Collections
  • University of St Andrews Research
URL
https://www.routledge.com/9781138855342
URI
http://hdl.handle.net/10023/16543

Items in the St Andrews Research Repository are protected by copyright, with all rights reserved, unless otherwise indicated.

Related items

Showing items related by title, author, creator and subject.

  • Scottish competition bagpipe performance : sound, mode and aesthetics 

    McKerrell, Simon Alasdair (2005) - Thesis
    This study is an ethnomusicological analysis of Scottish competition bagpiping, examining three fundamental aspects of performance: sound aesthetics, performance aesthetics and the modal complex of the core repertoire. ...
  • Aversiveness of sound in marine mammals : psycho-physiological basis, behavioural correlates and potential applications 

    Götz, Thomas (University of St Andrews, 2008) - Thesis
    Understanding what psycho-physiological and behavioural factors influence aversiveness of sound in marine mammals is important for conservation and practical applications. The aim of this study was to determine predictors ...
  • The sound of colour : the intellectual foundations of Domenichino's approach to music and painting 

    MacKenzie, Rowland Charles (University of St Andrews, 1998) - Thesis
    The debate about the nature of the theoretical basis of the training under the Carracci can be expanded by an analysis of the paintings of Domenichino, who, as the heir to Annibale, might be expected to reveal something ...
Advanced Search

Browse

All of RepositoryCommunities & CollectionsBy Issue DateNamesTitlesSubjectsClassificationTypeFunderThis CollectionBy Issue DateNamesTitlesSubjectsClassificationTypeFunder

My Account

Login

Open Access

To find out how you can benefit from open access to research, see our library web pages and Open Access blog. For open access help contact: openaccess@st-andrews.ac.uk.

Accessibility

Read our Accessibility statement.

How to submit research papers

The full text of research papers can be submitted to the repository via Pure, the University's research information system. For help see our guide: How to deposit in Pure.

Electronic thesis deposit

Help with deposit.

Repository help

For repository help contact: Digital-Repository@st-andrews.ac.uk.

Give Feedback

Cookie policy

This site may use cookies. Please see Terms and Conditions.

Usage statistics

COUNTER-compliant statistics on downloads from the repository are available from the IRUS-UK Service. Contact us for information.

© University of St Andrews Library

University of St Andrews is a charity registered in Scotland, No SC013532.

  • Facebook
  • Twitter