- creates mood and atmosphere, pace and emphasis
- 'creates a vocabulary by which the visual codes of the films are understood'
- elements that composes sounds in films:
1. Voiceover [omnipotent narrator] (non-diegetic)
2. Character monologue (diegetic)
3. Character monologue (non-diegetic)
4. Character dialogue (diegetic)
5. Character dialogue (non-diegetic)
6. Instrumental Music (diegetic)
7. Instrumental Music (non-diegetic)8. Song [music with lyrics] (diegetic)
9. Song [music with lyrics] (non-diegetic)
10. Sound effects (diegetic)
11. Sound effects (non-diegetic)
12. Atmosphere tracks
- Sense of now-ness:
'Music may be normally interpreted through the feelings it inspires, and is deployed to elicit specific emotional responses in the viewer and define the underlying feeling bases in the story.'
'Music may be normally interpreted through the feelings it inspires, and is deployed to elicit specific emotional responses in the viewer and define the underlying feeling bases in the story.'
-'From the use of 'real', un-scripted, non-performance voices through to the overt mimicry and caricature in the vocal characterisations by such revered figures as Mel Blanc and Dawes Butler, the tone, pitch, volume and onomatopoeic accuracy of spoken delivery carries with it a particular guiding meta-narrative that supports the overall narrative of the animation itself. In the same way as music, the voice, in regards to how it sounds, as much as what it is saying, suggests a narrative agenda.'
- hyper-realist texts (e.g. Disney):
'emotional synchrony of the voice is reinforcing modes of naturalism'; uses non-diegetic to heighten the emotive aspect.
'emotional synchrony of the voice is reinforcing modes of naturalism'; uses non-diegetic to heighten the emotive aspect.
- Warner Bros. (Chuck Jones):
'... whenever possible, never use a sound effect that you'd expect. It should have the same effect on your ears but should not be the same sound effect.' 'So your eyes sees one thing and your ear says the opposite.'
'... whenever possible, never use a sound effect that you'd expect. It should have the same effect on your ears but should not be the same sound effect.' 'So your eyes sees one thing and your ear says the opposite.'
'constitute a sound/image relationship unique to the animated film, particularly with regard to the comic imperatives it placed within the narrative structure.'
'delineate specific narrative information'
Case Studies
(Gerald McBoingBoing, 1951 by UPA)
(Gerald McBoingBoing, 1951 by UPA)
- A film directly addressing the role of sound in animated cartoon
- minimalist, expressionist background, 'smear' animation
- Anarchic - liberate from Disney's hyper-realism and Warner Bros. and MGM's comic anarchy - 'to achieve more aesthetic and philosophic effects, or an altogether more self-conscious style of humour.'
- The language of sound as a narrative tool:
'The noise essentially narrates the scene and determines its visual possibilities.'
'drawing attention to the consequences of the sound itself as the substitutional representation of an action.' as displayed by the gradually heightening tension stirred up at the beginning up to effect of the explosion.
'defining its central character through the non-diegetic apparatus of the voiceover and musical interludes and, most importantly, through the shift of sound-effects as non-diegetic imposition on a scenario to a diegetic voice within the scenario.'
-'The pertinent use of sound as a specific signifier for the purpose of narration and characterisation': 'Gerald McBoing-Boing recognises sound as a mode of authentication, and implicitly illustrates the relationships between the impositional animator and the requirements of the texts. In many senses, sound is the chief mechanism by which this relationship may be properly evaluated.'
(Beauty and the Beast: Belle's Prologue (1989) by Disney)
- Musical narrative: 'a self-conscious expression of the tension between the realist mode and the performance mode, where the musical presupposes the translation of speech into song, walking into dancing, objects into props, and any environment into a version of a stage.'
- Song's mood dictates the pace and rhythm of the action with occasional diegetic authentication.
- 'The role of a song in the soundtrack, may therefore, legitimise the use of the lyrics to illustrate thoughts and emotions, and/or extend narrative questions and issues. It may also provide a structural device for the specific choreography of a scene or the background for other exchanges. Further, it might be an expression of both diegetic and non-diegetic information, and the stimulus for particular kinds of imagery.'
- '... it also defines aspects of character, particularly those concerning motivation.'
- minimalist, expressionist background, 'smear' animation
- Anarchic - liberate from Disney's hyper-realism and Warner Bros. and MGM's comic anarchy - 'to achieve more aesthetic and philosophic effects, or an altogether more self-conscious style of humour.'
- The language of sound as a narrative tool:
'The noise essentially narrates the scene and determines its visual possibilities.'
'drawing attention to the consequences of the sound itself as the substitutional representation of an action.' as displayed by the gradually heightening tension stirred up at the beginning up to effect of the explosion.
'defining its central character through the non-diegetic apparatus of the voiceover and musical interludes and, most importantly, through the shift of sound-effects as non-diegetic imposition on a scenario to a diegetic voice within the scenario.'
-'The pertinent use of sound as a specific signifier for the purpose of narration and characterisation': 'Gerald McBoing-Boing recognises sound as a mode of authentication, and implicitly illustrates the relationships between the impositional animator and the requirements of the texts. In many senses, sound is the chief mechanism by which this relationship may be properly evaluated.'
(Beauty and the Beast: Belle's Prologue (1989) by Disney)
- Musical narrative: 'a self-conscious expression of the tension between the realist mode and the performance mode, where the musical presupposes the translation of speech into song, walking into dancing, objects into props, and any environment into a version of a stage.'
- Song's mood dictates the pace and rhythm of the action with occasional diegetic authentication.
- 'The role of a song in the soundtrack, may therefore, legitimise the use of the lyrics to illustrate thoughts and emotions, and/or extend narrative questions and issues. It may also provide a structural device for the specific choreography of a scene or the background for other exchanges. Further, it might be an expression of both diegetic and non-diegetic information, and the stimulus for particular kinds of imagery.'
- '... it also defines aspects of character, particularly those concerning motivation.'
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