Sound as a Meaning Maker in American Cinema
The aim of my thesis is the examination of sound as a filmic meaning maker in American cinema. In the first part of the thesis I briefly summarize the historical background of cinematic sound design and the methods of classical Hollywood. Relations between sonic and visual elements are also discusse...
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| Dokumentumtípus: | Szakdolgozat |
| Megjelent: |
2018
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| Online Access: | http://diploma.bibl.u-szeged.hu/74391 |
| Tartalmi kivonat: | The aim of my thesis is the examination of sound as a filmic meaning maker in American cinema. In the first part of the thesis I briefly summarize the historical background of cinematic sound design and the methods of classical Hollywood. Relations between sonic and visual elements are also discussed with the addition of newer technologies, such as Dolby and digital surround sound. I explain the roles and types of filmic sound and music which are relevant to my chosen movies. These types include diegetic and extra-diegetic sounds; on- and off-screen sounds; while music is seen mainly as the tool responsible for the emotional responses of the audience. I chose two movies in particular which challenge the standard approaches to filmic sound design: David Lynch’s Eraserhead (1977) and Steven Spielberg’s Saving Private Ryan (1998). These choices were based on their unique relationships to filmic diegesis which is formed by the use of sound. Lynch uses unknown and heavily distorted sounds while the sources are carefully concealed in order to split reality both for his protagonist and the viewers. Spielberg, however, utilizes the surround sound system to engulf his viewers and to place them in the middle of the battle scenes. The ultimate goal of the paper is to prove and demonstrate the legitimacy of sound as a cinematic meaning maker. |
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