sr

1. SOUND RESEARCH
BY DANA MILLS

2. SOUND TIMELINE
I DECIDED TO DO A SOUND TIME LIKE OF ‘THE BLING RING’ AS IT FEATURES A BREAK IN SCENE AND IS A FILM I HAVE BEEN REFERRING TO THROUGHOUT MY RESEARCH
00:00 – 01:04 Both diegetic and non-diegetic sounds. Diegetic
sounds include hushed voices, footsteps, the
gate rattling as the group of teenagers jump
it, the sounds of the locked door as they try to
open it. The non-diegetic sound here is an
cricket like alarm sound.
01:05 – 01:18 High contrast noise, sounds almost like a high alert
alarm. Most likely an electric guitar, plays in a loop.
01:18 Guitar is still playing in the background as a
character can be hard saying “lets go shopping”
01:20 Guitar is still playing in a loop but it is quieter and
there is a build-up of other instruments
01:20 – 01:42 Diegetic sound of small and large draws being open
and closed once the contents of them have been
removed

3. MEDIA ARTICLE
FROM THE ARTICLE I LEARNT A KEY TERM; LFE- LOW FREQUENCY EFFECTS
I ALSO LEARNT OF WALTER MURCH AND THE WORK HE HAS DONE FOR SOUND. AS STATED IN THE
ARTICLE HE REVOLUTIONISED HOLLYWOOD BY INTRODUCING DIGITAL SOFTWARE IN SOUND DESIGN.
MURCH WAS ALSO THE FIRST TO COIN THE TERM ‘SOUND DESIGNER’ WHILST WORKING ON THE FILM
‘APOCALYPSE NOW’ (1979). MURCH WAS ABLE TO WORK AS A DIRECTOR ON THE FILM ‘THE
CONVERSATION’ (1974), ON THIS FILM HE USES SOUND TO CHANGE THE AUDIENCES PERCEPTION OF
THE IMAGE. THIS IS CONSIDERED TO BE ‘PURE CINEMA’ IN THAT SOUND AND IMAGE ARE WORKING
HARMONIOUSLY TOGETHER. ‘APOCALYPSE NOW’ WAS THE FIRST FILM TO USE THE 70MM DOLBY
STEREO SURROUND SYSTEM, THIS WAS THE FORERUNNER FOR THE 5.1 SYSTEM WHICH IS STILL USED
TODAY AND HAS BEEN ELABORATED UPON THE INTRODUCTION OF 7.1 SURROUND SOUND. MURCH
HAS CONTRIBUTED THAT BY REMOVING SOME SOUNDS, AUDIENCES ARE GIVEN A GREATER
OPPORTUNITY TO IMMERSE THEMSELVES IN THE WORLD OF THE FILM, BECAUSE IT IS LEFT TO THEIR
IMAGINATION, THUS, LESS IS MORE. THE ROLE OF SOUND RECORDING IS A CATALYST FOR THE
DEVELOPMENT OF THE FILMS NARRATIVE. IN THE 1930S CRITICS COMPLAINED THAT THE EQUIPMENT
REQUIRED OR SOUND RECORDING RESTRICTED FREEDOM AND THEREFORE EXPERIMENTATION.

4. • I HAVE LEARNT THAT WHEN IT COMES TO ADDING SOUND TO A FILM A LOT MORE THOUGHT GOES INTO WHAT
EXACTLY IT IS THE AUDIENCE WILL HEAR IN CORRELATION TO WHAT THEY SEE AND HOW IMPORTANT IT IS DEPENDING
ON THE FILM’S TONE AND ATMOSPHERE.