Analysis of Using Sound in Media

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Table of Contents

Introduction
Selection of Clip
Genre Background
Audiovisual and Technology
Using Sound to Convey Meaning
Emotions in Sounds
Sound in Contemporary Media
Reference List

Introduction

Sound remains a mostly undervalued medium in contemporary media despite significant technological breakthroughs which allow for complex manipulation and effects. Sound can be used for communication, cultural expression, and modality of experience. Ubiquitous soundscapes are created through prototypes of speech, music, and atmosphere (Jensen 2010). This report will investigate sound as a critical concept in contemporary media which can be used to convey meaning and interact with visual imagery.

Selection of Clip

The clip was selected due to the high impact and dramatic visual imagery that is presented. There were a variety of environmental shots that combined urban and rural landscapes. The video encompassed several points of view which could be used to portray distinct perspectives. Furthermore, the visuals maintained dramatic and thriller-like elements which were conducive to the portrayal of a highly emotional narrative. This was evident through the use of lighting, effects such as time-lapse or blurring, positioning and angle of the camera shot, and focus on certain visual aspects (raindrops on the window or flock of birds). The group felt the imagery could be efficiently combined with appropriate sound elements such as dialogue, foley, and special effects to create a specific atmospheric soundscape and narrative that was appropriate for the genre.

Genre Background

The genre that the group attempted to present through its soundtrack is a drama with sub-elements of suspense thriller and crime film. Genre is a simple but at the same time complex aspect. It is most often defined by comparing works of art by finding significance and similarities (Derry 2001). Genre consists of four fundamental elements of story, plot, character, and setting. Despite common misconception, thrillers of any type are not technically a genre but rather a style of directing that falls under a broader category of drama. It is a style due to unique characteristics of cinematography and editing which define a thriller, rather than the four elements of a genre (Reich 2017).

A thriller is most characterised by suspense, producing fascination and excitement from audiences. Additional feelings of anticipation, apprehension, and mild fear are also expected. It is a fast-paced melodrama. The sub-genre develops a plot based on unpredictability and potential consequences for the characters. Such films usually create tension which erupts during a climax in the plot that is the central point of the movie. Most often thrillers intertwine themes of other sub-genres such as crime, dramatic revenge, conspiracy, or horror. Some of the most iconic examples of thrillers in visual media were produced by Alfred Hitchcock that defines the genre with its emotion and suspense (Derry 2001).

Audiovisual and Technology

In most natural environments, humans receive information simultaneously using a combination of sensory modalities. The stimuli are bound by physical law so that auditory and visual elements produced by the same source form a specific spatial and contextual relation to the observer. Humans maintain a multi-sensory perception that consists of audio-visual interaction bridged by cognitive function (Kohlrausch & van de Par 2005). It is a multimodal metaphor which defines sound and image relations that have been largely dependent on the convergence of artistic form and media technologies available for the articulation of each element. Historically, technology has led to the separation of media and sound. However, by the mid-20th century, the model of sound-image articulation became a form of technical and artistic synthesis. The audio-visual interaction had a central role in the operational structure of the film. The existence of modern digital computing provides an infinite amount of possibilities for manipulation, generation, and synthesis of the auditory and visual. It allows for new paradigms of creativity and structure of audiovisual to arise, taking upon a dynamic and interactive form (Ribas 2016).

Using Sound to Convey Meaning

Media such as film combines visual and aural stimuli to communicate a specific message and present a narrative. However, viewers may have distinct perceptions due to unique backgrounds and experiences. Audio cues can serve a magnitude of functions, ranging from creating a mood, providing information, or advancing a plot. One of the central aspects of visual media being able to create an illusion of reality is its use of sounds. Sound is categorised into diegetic, which is audio elements inside the world portrayed in the images (dialogue, audio from interactions with the environment), and non-diegetic that consists of external audio (music and effects).

Sound can be inherently manipulated through volume, pitch, and tempo to accentuate a specific meaning or emotion. Through sound design, a particular scene can be added upon with depth. As sound technology developed, it has allowed providing for an optimal surround experience that a human would experience in real life. This allows for elements such as directional sound to indicate the source of the audio that can be utilised to drive the narrative. Spoken word is a sound element which can be implemented both in the scene or as a voice-over narration (Poyntz 2002). Distinct spoken word elements (such as narration or accents) help shape certain subtexts of the film or character traits that would be indistinguishable through visuals alone.

Emotions in Sounds

Acoustic cues help an observer to comprehend physical and spatial characteristics within the narrative meanings of space, objects, and characters in a visual media. One of the aspects significantly influenced by sound is an emotion which is guided by cognitive association. Emotional communication can occur within three dimensions: innate neurological stimulus, associative schema (prototypes), and symbolic meaning (cultural). Emotions are complex, therefore difficult to communicate directly. It is often through conventional metaphors or preestablished schema that a viewer can begin to experience some elements of emotion. In audio-visual media, sound is implemented to create emotion through metaphors, motifs, and aesthetics. Sound design uses specific metaphoric strategies which connect qualities of objects, characters, and plot to associated auditory cues (Fahlenbrach 2008). In an interaction with visual features, sound begins to create a relational arrangement and associations for the viewer, which overall begins to provide a critical conceptualisation that impacts one of the emotional dimensions.

Sound in Contemporary Media

The modern multimedia world requires an understanding of the audio modality. The wide availability of technology makes sound design critical for the use in multimedia applications ranging from film to marketing. Sound serves a vital role in the communication of information in entertainment, products, and even interactive interfaces. It has become an expectation of the contemporary consumer to receive auditory stimulations for guidance and orientation in the media environment or perception, adding to the immersion experience and enjoyment of the product. This is used by various visual media as well as marketing to strengthen particular cognitive associations that contribute to a sense of realism when intaking any imagery (Collins & Kapralos 2014). Overall, it is evident that sound is a key concept behind any visual media which helps to drive the narrative, emotion, and experience that the audience expects.

Reference List

Collins, K & Kapralos, B 2014, Sound design for media: introducing students to sound, The Journal of Sonic Studies, vol. 6, no. 1, Web.

Derry, C 2001, The suspense thriller: films in the shadow of Alfred Hitchcock, McFarland, Jefferson, NC.

Fahlenbrach, K 2008, What if learning analytics were based on learning science, The Journal for Movies and Mind, vol. 2, no. 2, pp. 85-103.

Jensen, K 2010, What if learning analytics were based on learning science, Scientific Journal of Media Education, vol. 17, no. 34, pp. 15-23.

Kohlrausch, A & van de Par, S 2005, Audiovisual interaction in the context of multi-media applications, in J Blauert (ed), Communication acoustics, Springer, Berlin, Germany, pp. 109-138.

Poyntz, S 2002, Visual storytelling and the grammar of filmmaking, Open Learning Agency, Vancouver, Canada.

Reich, J 2017, Exploring movie construction & production: whats so exciting about movies? SUNY, Geneseo, NY.

Ribas, L 2016, Sound and image relations: a history of convergence and divergence, Web.

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