Elements, such as sonic landscape and musical scores affect the film environment. The purpose of this dissertation is to investigate the influence of sound as a narrative medium in fiction films and examining the critical role of sound in conveying messages in fiction films. Music and voice-overs/dialogues can be synchronized with the images to significantly influence the viewers’ experience. The work reveals the significance and influence on the audiovisual experience in the films, of Diegetic and non-diegetic sounds. Sound effects (SFXs) created from various sources, such as Foley, sound libraries, wild tracks, samplers and synthesizers, and production tracks are essential in generating the necessary SFX to suit different scenes. The critical role played by music in movie narrations includes representation of themes and emotions, as well as modification of the sonic experience in a film. Moreover, voice-overs aid in the creation of the tone of the film, exposing the background of the story, and advancing the plot. The evolution of sound, music, and voice-over can, thus, be observed as vital in influencing the experience of the audience.
Keywords: sound effects, music, voice-over, dialogue, narrative, film, themes.
The Power of Sound as a Narrative Medium in Fiction Films
How SFX Shapes the Narrative of a Film?
Introduction to Sound as a Narrative Medium:
Throughout the history of the movie industry, narrative has been used as means to guide the audience and help understand the director’s vision. Sound plays a vast primary role in helping the audience of the fiction narrative reveal the director’s vision, and allows the audience to interpret the events that occur within a certain film. Every scene within a movie is different from the other and serves its particular purpose, delivering its own unique piece of information to assist the audience’s role in perceiving, and comprehending the meaning of the film (Defining Film Narrative, 2010).
Sounds that accompany the images on the screen does not only assist the listener to interpret and comprehend what is happening in the story but it also serves the purpose of reducing the amount of abstraction that is applied to the film’s intended meaning from the director. The sound also inhibits the loss of the original meaning of the narrative being translated by the audience and helps the audience to grasp the subliminal meaning within the story, and finally, demonstrate understanding of the emotions being conveyed. Removing the sound from a film leaves the visual art, and the audience might be unable to follow the visuals and make a good interpretation of the images portraying dynamic events taking place on screen. Hitherto, without elements of sound, for example a musical score, the director’s vision is removed and it would be more difficult to convey elements, such as suspense or drama. However, with sound present the audience is able to understand and interpret the narrative, and therefore, will perceive the film as per the director’s intent.
Sound is also a tool for assisting narrative progression and makes the director’s intended meaning clear. However, the interpretation of the film is subjective due to the audience’s individual experience. Thus, “sound designers work closely with the director to shape an overall consistent soundtrack that is expressive and integral to the narrative and theme of the film.”(McGee, 2010)
Introduction of Sound Design in Film
The story of sound in films has been progressive in history as many historians have presumed, with the introductions of sound film, but with the invention of motion picture (Medrado, Ferreira, and Behlau 2005, p. 340). At no period in the history of motion pictures, it has been customary to show publicly without some sort of sound accompaniments(Cavalcanti, 1985).
A narrative can be comprehended and understood better if it includes decent sound design. According to Avarese (2017), good sound design involves combining all of the audio elements of the film and balancing them that creates an image of a fiction world for the audience in their subconscious. Sound design can be considered an extension of cinematography as it is used to set the audience inside the cinematographers frame. Though a film appear like an essentially visual experience, the importance of sound films cannot be underestimated as the importance of sound in film, as “a meaningful soundtrack is often as complicated as the image on screen” (Sobchack and Sobchack 1987). The term ‘Sound in Film’ is broad and it can be divided into a number of basic components which hold the capability to support and enhance the narrative in their own way. The visual narrative consist of sound effects, dialogue as well as the music. When the tracks are mixed and balanced properly, they can be considered a good sound design (Winters 2010, p.224). The music components can later be narrowed, sound and visual art being the main components. Sound in films can be used to provide the audience with more information, such as developing the characters in the story, establishing a location, or even to portray a mood within a scene.
There are two main categories within film sound; diegetic and non-diegetic. Diegetic sounds comprise the ones which the source is present within the world we see on screen, such as dialogue, music from an instrument, footsteps, etc. However, non-diegetic sounds depicts the case where the source is outside the story space, such as the narrator’s commentary, musical score or the dramatic effects.
History of Sound Effects in Film
According to Flueckiger (2009, p. 151), the development of sound effects began with the recording process in 1920 in which three primary procedures were developed. The effects were created on set, gathered wild, and developed by a Foley artist. Sonnenschein (2001, p.106) asserts that during the classical Hollywood period, most of the film production conducted in a studio environment and led to the sound effects, which applied sound after the visual part in the production. Similarly, the purpose of the sound effects extended to the music industry, primarily due to the technical demands of the optical track (Flueckiger 2009, p. 151). The emergence of the magnetic multi-channel systems in the 1950s led to significant changes in the development of SFX (Licht 2009, p.10). However, the adoption of SFX for uses in sound film became more prominent in the mid-1970s (Trento and De Götzen 2011, p. 3). The explanations of the changes include the varying production conditions as well as the diverse cultural developments. The adoption of sound was also evident in need for application of SFX in different forms and period of popular culture (Cour et al. 2008, p. 158).
The necessity of sound in films led to the invention and utilization of effects to depict the scenes and moods as desired by the creator of the movie. The use of sound effects is also necessary for allowing the audience to connect with the story emotionally. According to Balázs (1970), the development of sound in movies is due to the potential influence of the art in the minds of the audience, thus, the application of effects like color and sound is essential for bringing out the desired impact on the audience. Prior to the development of television and visuals, acting primarily in non-visual media, such as radio was represented by sound effects to illustrate what was happening behind the scenes with the sound having to communicate by conveying moods and emotions intended by the director. The sound effects were devised to suit the unique situation presented. For instance, the situation, such as a knock at the door, a bomb exploding, a gunshot, cars screeching, a person being stabbed, and many others (Lizowoski 2016). The development of the sound effect helps to suit genres, such as comedy and tragedy. The effects in a comedy film are different from those in action, romantic, and dramatic movies. Lizowoski (2016) indicates that the manual creation of the sound effects through objects, such as fruits, glass and others, led to the accomplishment of the first iteration of the sound effects machine.
The works of Thomas Edison are often associated with the adoption of sound. Even though Edison is not credited with inventing the film, he always conceived about the application of music in a visual medium and could be seen trying to create the sound for the movie since the invention of cinema in 1885. The adoption of sound effects into films was, however, faced with problems and challenges; firstly, the audiences before the design of the sound film were happy with the silent movies (Levin 2003, p. 33). Similarly, such films were not soundless but certain a particular music that included multi-pieced orchestra for big openings, a guitar, and even a single piano accompanied them. Furthermore, a live raconteur who narrated the different aspects of the film to set the mood always explained the actions on the screens. The 1920s saw a new development in the film in which very subtle and emotional plot nuances could be depicted without the accompanying dialogue. Filmmakers were thus able to relay their stories without the intertitles.
The second problem was revealed in the technological challenge of matching the sound and the visuals in a way that everyone could follow the story. The problem of amplification and synchronization was, therefore, associated with the early adoption of sound effects in movies. American companies played a vital role in providing solutions to the problems associated with sound films (Licht 2009, p. 4). Western Electric, Warner Brothers, and AT&T are examples of such American corporations: two of which formed Vitaphone, a company that first produced a commercially viable sound system. Even after the invention of the invention of the sound system, there was still a host of problems associated with film production. The early sound cameras and equipment were big and had to be fitted with their soundproof system. The silent screenwriters also had difficulties finding an appropriate balance between the sound scripts and dialogues.
Creating SFX
The creation of the realistic sound effects (SFX) is essential in depicting the desired mood of the story. The filmmakers should, therefore, provide the proper design achievable to describe the desired effects (Sonnenschein 2001, p. 1). The five significant sources recognized as essential in the design and creation SFX in movies include; Production tracks, sound libraries, wild track recording, samplers and synthesizers, and Foley are some of the primary sources of sound effects discussed in the present work.
Production tracks
Production tracks are pieces of music deployed in a film to create the desired effect or mood of the story presented by the producers and directors. The records are also useful in creating a seamless sonic landscape, and hence, creating an illusion that all the effects of a scene are taking place in a continuum. The tracks produced and recorded on set are essential for creating the desired sound effects and creation of sonic landscape.
Foley
Foley is an essential technique applied to create subtle SFX missed by the production mixes. The method entails the reproduction of the daily sound effects incorporated into the movie (Trento and De Götzen 2011, p. 23). Foley can involve the reproduction of sound from the swishing of cloth to the breaking of glass among others. The Foley effects are necessary for creating a sense of reality in the film or video. The lack of the sense of reality may lead to the movie being unnaturally quiet and uncomfortable to the audience. The sounds produced by the Foley is useful in enhancing the auditory experience, and hence, helpful in recreating the critical ambient noises as well as for eliminating the unwanted sounds captured during the shooting of the videos such as the passing traffic and others (Van Den et al. 2001, p. 537). The Foley crew is comprised of experts who serve to reproduce the effects while the other specialists record the produced sounds. The works of a Foley artist may be shown as an example in Victor/Victoria (1982) in which the filmmakers obtained a more prominent and emphatic applause for Julie Andrews than which provided by the extras.
The necessity of Foley and its ability to allow for the standardization of the quality of the sound effects created, especially in replacing the effects with the appropriate sources. In comparing the differences between the Foley and real sounds, Trento and De Götzen (2011, p. 1) indicate that there is a similarity in the preference between the types of sounds. Hitherto, the authors report a limited ability of the subjects to differentiate between the real and Foley effects. Most of the modern movies, therefore, demonstrate the effectiveness and inventiveness of the application of such sound effects. The applicability of the Foley effects is consequently well recognized and important for the production of movies and animation. The audience are affected by the sound effects, and hence, their experiences are enhanced by the narrative stream of film. The Foley sounds, are thus, essential for supporting the visual characterization and composition.
The Foley art was developed by the sound editor Jack Foley, who developed the craft out of necessity during the production of his show, Showboat that was recorded in the Universal Studios in 1929 (Trento and De Götzen 2011, p. 3). The artist invented the art to allow for the inclusion of the sound effects in scenes during the actual shooting. The Foley artist must thus take into account what the actors are saying or doing on the stage to select the best prop to be reproduced to suit the ideal situation. The artist must, for instance, observe if the actor or actress is walking on particular surfaces and reproduce the appropriate prop for the specific act. The platform on which the artists work is known as the Foley stage and comprises of technical equipment like the monitor or projector, props, microphones, and pits.
Sound libraries
Sound libraries are useful in providing tens of thousands of options that can be utilized as sources of SFX in movies (Flueckiger 2009, p. 151). Such media present easy to search elements that may appear as cataloged in digital forms. As compared to the previous tapes that had to be wound back and forth, the modern methods are agile and can be seen to allow for the preliminary storage options through digital sampling that can allow for immediate testing of the image if the work is being conducted electronically. The pre-recorded sounds may, however, be disadvantageous as they may lead to laziness, especially as the processes are conducted at a faster speed. The sound libraries can be used creatively by combining two or more sounds to create a new one. Sounds from the library can further be modified through the alteration of the pitch or duration of such effects (Flueckiger 2009, p. 151). Other creative manipulation of the sonic landscape from the library may further include inverting, filtering and looping while the artists may also use the sound sketch to create the original recordings. Furthermore, the advent of the sampler and digital editing has enabled the conversion of the recognizable sounds into a thousand variations from vaguely familiar effects to original sounds that can be deciphered by the audience. The libraries also provide abundant computerized tools that enhance the quality and standards of the music being produced.
Wild Tracks
Wild tracks refer to the recordings that are intended for synchronization in the film or video but are recorded separately from the picture. The concept of the wild track may, thus, be applied to all the aspects of sound gathered on location when the camera is not rolling. Similarly, a wild tracks recordings may be used to refer to the extra lines that are performed exclusively for application with audio (Trento and De Götzen 2011, p. 37). Some of the claims of wild tracks include the shooting of sound at a later time and off-screen dialogue. The sound is shot at later due to the external influences like unforeseen background noise and for use in the editing of the sonic landscape obtained in the film. Such sources are thus essential for obtaining cleaning recordings that would not be possible on set due to the background noises. Examples of the wild tracks may include narration, phone conversations, and machine replying messages that are being played in a particular set (Cour et al. 2008, p. 158). The tracks can be musical as well and can be seen in the various songs that play in the backgrounds in different scenes and can be viewed as essential in the creation of the desired atmosphere.
Synthesizers and Samplers
Synthesizers and samplers are also other sources of sound that are utilized in films and movies. A synthesizer is composed of several interconnected elements, such as filters, modulators, oscillators, and effects (Russ 2004, p. 3). The oscillators are the primary source of sound in the synthesizers. Synthesizers are useful for the production of the film sounds as they enable the creation of artificial sonic effects that may not resemble any known acoustic equipment. The ability of the synthesizers to produce the unique sounds is based on the essence that the oscillators that can be manipulated easily through electronically. On the other hand, samplers are devices that allow the producers to capture the real sounds and play them to create something bigger (Russ 2004, p. 3). The first samplers were made from reel tape machines. The modern samplers are helpful to a composer in recording sounds that may depict the performance of an orchestra or hip-hop. The film producers may for instance use samplers to generate sound effects of classical music to depict a particular background.
Four Main Characteristics of Sound Effects (SFX)
Acoustic Qualities
According to Tiwari (2012, p.24) acoustics attribute concerns the physical transmission of the sound waves. The instruments used for playing a certain music or produce certain sound counts for the interpretation of the message depicted by the producer to the audience. For instance, the sound produced by an acoustic guitar can be used to produce musical sounds for an inferred world of a film and thus sway the moods of the audience through an accompaniment of a narrator. The more the quality of the acoustic sound, the more it possesses the power to influence the audience towards the films intended thoughts.
Volume
The volume of the sound refers to the intensity of the auditory sensations that is perceived by the audience. Volume of the sound in film music influences the intensity of the scene (Pramaggiore and Wallis 2005, p.214). The attribute of a satisfactory volume to the audience helps to assure that the audience is able to grasp the message at the set score. SFX, therefore, perceives a quality of volume of the selected sound for the film.
Regularity
Regularity of the sound effect refers to the change of sound patterns. Some sounds are often related with certain incidences. For instance, the lyrics of ‘Danny Boy’ uses sounds that suggests the theme of death. These sounds suggests sorrow, pity and their tempo is slower that the lyrics for the ‘rainbow’s end, waiting round the bend…’ which concerns a contrast situation of joy.
Verisimilitude
Verisimilitude is a characteristic of the sound effect that happens in the scene. The sounds that the audience hears behind the scenes are attributed with verisimilitude.
The Role of Sound Effects in Film
Sound effects (SFX) are necessary for the reproduction of the required sounds in a movie. In the film Unforgiven (1992) the silence of the bar means that the only music that can felt are the footsteps of Munny are heard on the wooden floor (Winning 2012). The SFX of the boots can be recreated through the utilization of sturdy boots on a wooden floor. The SFX is recorded when there is no other sound to interfere with the recording process.
In film and television, sound effects (SFX) may refer to the artificially created or enhanced sounds that emphasize the content of the films, movies, television shows, live performance, video games, animation, and music among others. An SFX is utilized to present the specific narrative without the application of dialogue or music (Thom 1999, p. 10). The purpose SFX is threefold and includes simulating the reality, mood, and an illusion. For instance, in a scene where an actor has been shot, the reality simulated by the adoption of the appropriate SFX to depict the sound of the gunshot as well as the impact of the bullet on the individual's body. A further example of simulating reality may be viewed in the opening and closing of the doors of the Starship Enterprise in the Star Wars series' Ewoks. The sound effects are applied in the film Psycho (1960) to set the audience for a famous shower scene.
The audience is influenced by the SFX, especially as the faking theatrics in the movie does not allow for the presentation of the reality (Redi et al. 2014, p. 4273). In creating an illusion, the sound effects are useful for the presenting to the audience the elements that are taking place in the background but not shown on the screen. Sound effects may, for example, be applied to depict a river flowing in the distant deep inside a forest. Similarly, an illusion of thunder and storm can be accomplished when Foley artists apply appropriate SFX on a moving scene. The purpose of SFX in influencing the mood of the story may, for instance, be observed in anticipation of danger or sorrow. For example, the sound of an owl hooting may portend a disaster to an audience. Apart from setting the mood, SFXs are necessary for introducing the important into the plot (Hoberman, Shandler and Berger 2003, p.220).
Similarly, the film producers may utilize particular instrumentals that depict sadness or somberness in certain scenes. The sound effects are used to increase the mystery, suspense, and disorientation for the audience. In horror and science fiction films, for instance, SFX are essential for creating a perception of reality to suit the mood of the narrative. Pramaggiore and Wallis (2005) give the clapping of thunder as an example of a sound effect used to evoke fear in horror movies. In the movie, The Doll the sound effects are applied to represent evil laughter that is necessary for evoking a creepy and horrific mood in the film. Other examples of SFX in horror movies may include the sounds depicting haunted and scary ambient like in Annabelle: The Creation (2017). A further role of SFX is described in the common three functions in film narrative as the description of the location, lending a mood to the environment, and portraying the effect of the situation on the characters.
SFX 3 Common Functions in Narrative Film
Portray the environments impact on characters
The environment in which the story in the movie is set may sometimes have a significant impact on the characters (Alten 2010, p. 313). For example, a character walking in snow will be affected by the cold even if essential warm clothing is worn. SFX can, thus be applied to depict the sounds produced due to cold, such as shivering in a fictitious snowy environment. Similarly, sound effects are useful for representing the impact of wind on the characters, such as the blowing of cloths and hair.
Defining Location
Location is an essential element in the narrative film that the movie producers seek to explicitly or implicitly depict to their audience. Explicit locations are seen in scenes like marketplaces, stadia, schools and among others. The producers must, therefore, utilize the appropriate sound effects to define the locations (Pramaggiore and Wallis 2005, p. 220). A scene shot at the marketplace should, thus, be associated with the SFX that portrays a buzz and activities that are associated with such locations. Apart from seeing the location, the audience should be able to identify the area from the sounds that are associated the images that are being shown. The audience can, thus easily understand the environment in which the film is based. For example, the movies in urban settings rely on the constant buzz that is associated with the traffic as well as other effects like the movement of people to represent the hustle and bustle of the city life. The SFX are applicable in some films to represent specific settings in particular period.
The necessity of sound in defining location is observed in the essence that each environment has a unique sound that is referred to as ambient noise (Buhler, Neumeyer, and Deemer 2010, p. 310). In most cases, the ambient sound is recorded for at least 30 seconds when the actors and crew are silent.
Lend mood to an environment
Sound effects are also necessary for lending a mood to a movie. Musical sounds are especially essential in establishing moods to the story mainly to depict the emotions that are presented in the film. Pramaggiore and Wallis (2005, p. 221) describe that SFXs enable the cultivation of the emotional cues of a scene, create suspense and produce the appropriate moods for different genres of movies. Similarly, Home-Cook (2015, p. 12) indicates that environmental sound is necessary in portraying the overall atmosphere of the film. The effect of environmental sounds is demonstrated in the film The Hunger Games (2012) in which most of the scenes are set in wilderness type surroundings. Sound effects that enable the changing of moods in similar settings as observed in the creation of haunting or eerie feeling in the production.
How Music shapes the narrative of a film?
History of Music in Film
Music was first applied in the film as an accompaniment to movies or for enhancing the mood as depicted in classic comedies and melodramas. Music was, thus, utilized to compensate for the lack of speech in which the musical scores were used to fill the gaps of silence. Wierzbicki (2009, p. 23) describes that live piano characterized most of the accompaniment. Full orchestras were lately useful as musical instrumentation. Likewise, the music acted as sound effects while helping to cushion the audience against the fear of silence. Music was also essential in masking the sound of the projector as well as for standing for a long sequence of silence. Furthermore, the music also stood for natural sound of life. According to Wierzbicki (2009, p. 23), the music, however, had no close connection with the action on the screen. The music was, hence, useful for creating an agreeable atmosphere like in places, such as restaurants. The growth in movies came with the expansion of the orchestra and quality as well as the inclusion of instruments, such as violin, cello, and others. After the introduction of sound, there was no need for utilizing the actual composition of the European artists. A crop of film composers, such as Max Steiner, Wolfgang Korngold, and Alfred Newman, made it possible for the creation of the appropriate musical scores in films. Some of the first musical films include the Broadway Melody (1929).
Role of Music in Film
Just like sound music also play an essential role in the narrative of a film. Music is applied to enhance the drama and emotion in a particular scene. Audiences are experienced in decoding the styles of the music leading to the interpretation of the mood or genre (Gorbman 1980, p. 183). The incorporation of music in a film is also essential for releasing the tension. Music is also necessary for influencing the emotional and physical status of a character. The necessity of sound for representing basic emotions to the listeners is highlighted in the work of Juslin (2013). The author, therefore, argues that music plays a vital role in expressing the emotions that the film producers intend to portray as well as being used for altering the tone of a scene. The utilization of music allows for the smooth flow and transition as well as for linking the developments in a film. Music in a film is also essential for highlighting a code or theme in a story (Gorbman 1980, p. 183). The meaning of a scene can be changed significantly through applying the different musical styles to represent the themes in a film narrative. In the film, Cleopatra (1963) music is utilized in some scenes to reflect the royal activities of the queen. The music directors can also music to foreshadow some of the events in the movie.
The combination of music and sound not only enhance the audience’ experience of a film but are also necessary for influencing the perceptions and how the behaviors of the viewers. The significance of music in shaping the narrative of a film is its ability to move the audience. Music presents further impacts on individuals by evoking memories and presenting different ideas to individuals (Juslin 2013). A soundtrack in a movie, therefore, assists in storytelling as it guides the audience in certain ways like establishing the historical or emotional context of the narrative. The influence of a soundtrack on storytelling in a movie is demonstrated in almost all modern video production. The movie Mad Max: Fury Road (2015) demonstrates the impact of music on a film narrative. An ominous and repetitive low cello confirms that the Fury Road plays a significant role in transmitting an impeding menace.
Psychological influence is another impact that music has on the audience. In most cases, the viewers do not need to understand the meaning of musical composition but only acknowledge what the music in the film makes them feel (Gorbman 1980, p. 183). Different kinds of music can evoke various feelings of the audience. For instance, the viewers can have a sense of romance or sorrow based on the music that is being played in the background. The music scores can, thus, be used to guide the desired emotional response from the audience while providing clues and signposts on how the filmmakers want the viewers to respond to particular scenes in a movie. The music film is further essential in broadening the perspectives of the viewers. According to University of Oslo (2015) studying how music functions in different spheres, enable individuals to acquire essential knowledge that is transferrable to conventional film soundtracks. The publication of the University of Oslo (2015) further suggests that proper studying of sound and music enables the understanding how the concepts affect the behavior and attitudes of individuals. The sonic experience of people are exposed may further influence their actions and beliefs. Adopting music in films is, thus, necessary not only for enhancing the audiovisuals of the movie but is also vital in influencing the experience of the audience.
Some of the specific functions of music in films include establishing a historical context of the narrative, shape the audiences’ perception of time and space, define character, shape the emotional tenor of a scene, and distance the audience (Holkenborg 2015). In defining the character, music can intensify seek out and intensify the inner thoughts of an individual. While using the example of the Fury Road, music is applied to reflect the state of mind of the characters. The producers use the frenetic strings to accompany Max's brief flashbacks.
In influencing the au
