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Contemporary Issues In Sound Art Second Year

Joseph Kamari:

I found Joseph Kamari’s work profoundly moving as he talked about his awareness of the world around him. His work focussed so deeply on the everyday noises but simultaneously felt like something new and fresh. After watching his new live stream at HÖR Berlin if felt highly inspired by his sonic positioning and art.

Kamaru works with familiar noises in our society and applies different synths and drones which almost mask what are hearing. These sonic effects make his sonic sound inaudible to fully understand; I find such beauty in this. Blurring the boundaries between understanding and unfamiliar can almost place a mediative effect on the listener. Complications and chaos of civilisation can tarnish how we hear sounds. Our ethnographies build up a list of connotations linked to sounds we hear and can almost create a negative and presumptuous mindset. How his work blurs these certainties within this live stream leaves thinking space for the viewer to create new preconceptions around the sound.

As humans, we are so driven physiologically to the source of sound and how it looks. However, Kmaru’s work has inspired me to listen deeper beyond the context and around the sonic itself. Humans think about the source of sound when listening due to a combination of innate cognitive processes and learned experiences. I researched into this, finding that the main reasons stem from us having, survival instinct, spacial awareness, social interaction and being environmentally aware.

I will talk about the idea of this deeper listening within my essay and express the vitality of how we chose to hear and see rather this listen beyond the what who and where.

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Second Year Sound for Screen

Blog Post 5 Peaky Blinders – Use Of Music – Sound For Screen :

Despite not using music within my piece I found myself drawn to examples of anachronisms within sound for the screen. Peaky Blinders does this superbly with 6 seasons, the series weaves in a modern-day playlist all used well to set a scene. Although it is not factually correct to the 1930’s chic timeline, the contrast becomes extremely effective. 

Nick Cave’s ‘Red Right Hand’ song, famously used for the introduction, is also a recurring motif for the series; making it instantly memorable and reactive to the listener whenever it is heard. Famous pop songs are also used to become instantly recognisable and in touch with the viewer.

Visually the series leaves no ambiguity to the viewer of when it is set. With bold obvious costumes and sets, it is unnecessary for music to document a timeline. Modern music completely contrasts the aesthetics used on screen and brings a new modern level of style. However despite contrasting the aesthetics, thematically it does not. Throughout peaky blinders, you see continuous themes of modern-day morality and justice. Signs of equality through the race, ability, sexuality and gender are heartbeats throughout the series. Unusual to the time it’s set these modern-day mindsets of certain characters become fitting to the modern-day songs that are played throughout; matching themes within the songs. In contrast to Tarkovsky’s style of realism and truth; anachronisms break genre boundaries and paint themselves a new stylistic and relatable aesthetic. Society connects itself through music and song. It can be noticed that the viewer relates themselves to the screen because of this; becoming more effective than another style of music and sound techniques.

I hope to use this if I ever get the chance to work on period pieces as I truly believe that certain styles it can be extremely effective and work well.

Categories
Second Year Sound for Screen

Blog Post 2: We Need To Talk About Kevin – Sound For Screen

As I have continued composing my piece I have found myself using sections of silence for dramatic effect.

Inspired by Oriol Tarragó’s work in ‘The Impossible’ (2012), I found his use of silence during shocking and vulgar scenes only become more powerful when the music was playing. It gave the viewer time to hone in on the visuals and reflect on the seriousness of what was happening on screen.

During scenes from La Tomatina festival, I felt that segments of silence could prove very powerful. The juxtaposition of chaos shown in the scene contrasts the silence well and provokes time for the development of an emotional tone. Silence brings a sense of severity with this mirror with the exciting visuals it creates an extremely ambiguous setting. Despite the scene from La Tomatina being a happy stress-free memory for the mother as a use of foreshadowing I wanted to incorporate sound that indicates a distressing harrowing side to life; indicating her future. The ambiguity of contrasted sound grabs the viewer’s attention by telling them that this isn’t shown for exciting and happy effects. 

Finally, with Lynne Ramsay directing the entire film from the mother’s point of view, silence subtly tells the viewer that we are seeing this from her eyes. It takes away Tarskovksy sense of realism as I feel this only brings a godlike point of view within the film. 

I enjoyed playing around with silence for its powerful and unremarked effect and I hope to use this in the future. As I have continued composing my piece I have found myself using sections of silence for dramatic effect.

Inspired by Oriol Tarragó’s work in ‘The Impossible’ (2012), I found his use of silence during shocking and vulgar scenes only become more powerful when the music was playing. It gave the viewer time to hone in on the visuals and reflect on the seriousness of what was happening on screen.

During scenes from the La Tomatina festival, I felt that segments of silence could prove very powerful. The juxtaposition of chaos shown in the scene contrasts the silence well and provokes time for the development of an emotional tone. Silence brings a sense of severity with this mirror with the exciting visuals it creates an extremely ambiguous setting. Despite the scene from La Tomatina being a happy stress-free memory for the mother as a use of foreshadowing I wanted to incorporate sound that indicates a distressing harrowing side to life; indicating her future. The ambiguity of contrasted sound grabs the viewer’s attention by telling them that this isn’t shown for exciting and happy effects. 

Finally, with Lynne Ramsay directing the entire film from the mother’s point of view, silence subtly tells the viewer that we are seeing this from her eyes. It takes away Tarskovksy sense of realism as I feel this only brings a godlike point of view within the film. 

I enjoyed playing around with silence for its powerful and unremarked effect and I hope to use this in the future. 

Categories
Second Year Sound for Screen

Blog Post 9 sound for screen:

A common technique used within sound for music is when the lyrics are used to foreshadow certain elements of what is going to happen on screen. Lyrics can be a powerful use of foreshadowing and I have chosen to use this within my work. Despite the viewer connecting the music to the scene automatically when we listen to music, we connect to the lyrics with the song. I found that this was a more subtle version of foreshadowing within the work without it becoming too overpowering for the viewer. 

The song I decide to use within my opening scene is a song named‘ Bow and Arrow’ by Kacey Johansing. Later in the film, Kevin used a bow and arrow to kill many of his victims at the school. Despite the obvious connection between the object, the metaphorical meaning behind the song is being unable to connect and discuss whose fact that is. These are recurring themes within the film; linking to the troubles of motherhood, and blame for Kevin’s behaviour. I felt that the lyrics of this song connect to deep levels of the movie without being entirely obvious and cliché within the links. Indirect foreshadowing leaves ambiguity for the viewer; leaving space for self-reflection and prediction.

Lyrics within the music can bring so much added value to a scene by narrating certain themes however they’re and strong and successful way to foreshadow events within the movie subtly and stylistically.

Categories
Second Year Sound for Screen

Blog Post 8 Non-Diegetic – Diegetic – Sound For Screen:

Non Diegetic sound allows the viewer to become extra immersed in the scene. Its added values give the narrative effect of the emotions and characters on screen. However, a technique I have found extremely useful in making my sound piece is a swift transition from non-diegetic to diegetic sound. Throughout my work, I decided that the music would become atmospheric radio sounds in the background. The transition creates a quick enveloping effect into an immersive piece of film. 

By creating this change the sound pulls you in and out of the point of view of Eva; taken from memory to the radio through sound when she wakes up. During the opening of ‘We Need To Talk About Kevin’, the first two scenes are extremely different showing a festival in Spain (indicating a memory) – to a sudden change of place and time when the mother (Eva) wakes up in her bleak home. The mood of the scene sees a quick change and can potentially become confusing to the viewer with no previous context. However with the use of music changing from non-diabetic to diegetic; audibly we are told that physically the scene has changed place but also mentally and emotionally the time within the scene has also changed. Keeping the music running throughout both scenes by using EQ automation to change the sound, creates a smooth and even flow to the screen. 

I believe this works well in my work as it reduces a bitty scene change while also informing the viewer that there is an obvious change of time, emotion and place. It narrates this stylistically and flowingly.

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Second Year Sound for Screen

Blog Post 6 Sound For Screen:

“If only we could learn to listen to the world in the right way, its sounds could become all the music that cinema will ever need”

Tarkovsky’s approach to realism paved the way for sound for a screen that we still see and hear today. His heavy use of only foley creates realistic soundscapes. He believed that music over the screen was wrong and false. He stated, “I do not need ordinary film music. I cannot stand it, and I do my utmost to escape it …”. 

Despite some viewers finding his work a more stripped-back approach, it provides audible space for understanding and thought-provoking moments on screen. Music is used as escapism within the screen. Often used to highlight certain emotions within the context of the movie or help narrate characteristics. However, when this is taken away we are left with no audible instruction but ‘realism’. With no music to tell us how to feel it can in some cases create deeper and more thought-proven effects on a storyline. When humans are left in silence to think by themselves, deeper emotions appear. Tarkovsky wanted the audience to “connect their meanings”.

A modern example of Tarkovsky’s approach to sound for the screen is sound is Philip Barantini’s ‘Boiling Point’ starring Stephan Graham. Sound composed by Aaron May and David Ridley uses a one-shot film with no music and only foley sound effects. The foley is not exaggerated and instead mixed to realistic levels. Throughout the film, the sound feels as if it has been completely left to its natural form; meaning there are no special effects or EQ added. This continues throughout the entirety of the film which brings an almost immersive experience. The camera angles used in a Point of View from the sound match this entirely well. Leaving an utterly pragmatic effect as if the viewer was there within the story.

I believe this approach matches Trakovsky’s aims and approaches to cinema and creates an all-round authentic piece of work.  

Categories
Second Year Sound for Screen

Peaky Blinder’s Anachronism in music soundtrack:

Despite not using music within my piece I found myself drawn to examples of anachronisms within sound for the screen. Peaky Blinders does this superbly with 6 seasons, the series weaves in a modern-day playlist all used well to set a scene. Although it is not factually correct to the 1930’s chic timeline, the contrast becomes extremely effective. 

Nick Cave’s ‘Red Right Hand’ song, famously used for the introduction, is also a recurring motif for the series; making it instantly memorable and reactive to the listener whenever it is heard. Famous pop songs are also used to become instantly recognisable and in touch with the viewer.

Visually the series leaves no ambiguity to the viewer of when it is set. With bold obvious costumes and sets, it is unnecessary for music to document a timeline. Modern music completely contrasts the aesthetics used on screen and brings a new modern level of style. However despite contrasting the aesthetics, thematically it does not. Throughout peaky blinders, you see continuous themes of modern-day morality and justice. Signs of equality through the race, ability, sexuality and gender are heartbeats throughout the series. Unusual to the time it’s set these modern-day mindsets of certain characters become fitting to the modern-day songs that are played throughout; matching themes within the songs. In contrast to Tarkovsky’s style of realism and truth; anachronisms break genre boundaries and paint themselves a new stylistic and relatable aesthetic. Society connects itself through music and song. It can be noticed that the viewer relates themselves to the screen because of this; becoming more effective than another style of music and sound techniques.

I hope to use this if I ever get the chance to work on period pieces as I truly believe that certain styles it can be extremely effective and work well.

Categories
Second Year Sound for Screen

Why I have Chosen Not To Include Music 

Although I strongly value the importance of soundtracking within screen composition, I don’t personally often use this method myself. My approach to sound for screen consists of a variety of techniques. However, as I have developed the work I have found for serious pieces such as ‘We Need To Talk About Kevin’ music does not support the director’s intentions. Lynn Ramsey’s deliberate focus on the vulgarity of Kevin’s crimes on screen makes me feel that music juxtaposes the honest effect Ramsey is trying to portray. Music does provide a layer of beauty to a scene, however with coarse serious work such as this, it takes the viewer away from the scene. With uncomfortable shots and recurring motifs of blood, the film portrays difficult sensory for the viewer. Soundtracks within the score detach the viewer from the severity of the scene. Finally, Lynne Ramsay’s work is filmed from a constant POV (Point Of View) from the mother. Soundtracks subtly tell the viewer where the point of view is taken. Music almost provides an Acousmêtre effect so it is undeniable that soundtracks create added value.

Despite this, I have chosen to create my score on a layer of multiple sound effects and field recordings edited to create its own type of score. With different effects added, mixed and sounds that represent certain themes layered together; the score builds a fabric for an intense sonic atmosphere.