"You have to feel a sound for it to be effective" : sonic surfaces in film and television
MetadataShow full item record
Altmetrics Handle Statistics
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.
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 .
The Routledge Companion to Screen Music and Sound
© 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
Items in the St Andrews Research Repository are protected by copyright, with all rights reserved, unless otherwise indicated.
Showing items related by title, author, creator and subject.
Scottish competition bagpipe performance : sound, mode and aesthetics McKerrell, Simon Alasdair (2005) - ThesisThis 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) - ThesisUnderstanding 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) - ThesisThe 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 ...