فصل الصوت ، خلفية تاريخية ٣-a .. كتاب فهم السينما

Birth of the nation of his era. The film explodes with imaginary meaning in almost every shot and is distinguished by a synthesized soundtrack to the point that the cinematic world gaped its mouth in astonishment. It is often credited to Wells, as to Criffith before him, with the honor of inventing so many effects that he was, in fact, chiefly doing the standardizing, but like Criffith too. Wells' genius consisted in his uncanny ability to combine and extend the achievements of all his predecessors. Despite his youth, at 25 when Citizen Kane was made, Wells had spent several years acting, writing, producing and directing radio plays. The lessons he learned in the audio-expressive medium served him well.

The voices on the radio should evoke the images. The actor speaking through the echo chamber suggests a visual content. This could be a huge theater hall, for example. A "distant" train whistle suggests a large, wide view, and so on. Wells simply applied this auditory principle to the cinematic soundtrack, and the results were, and still are, astounding. Wells, along with his sound technical assistant James G. Stewart, discovered that almost every visual style has an equalizer. All clips, for example, have an audio quality that includes volume, degree of clarity, and texture.

The sounds of the shots that are very far away are remote and often “far away.” The sounds of the close shot are clear, embodied, and generally loud. If we show a conflict, for example, the two conflicting nostalgic lines of music can deepen the dramatic and visual clash. High-angle shots often present high-frequency sound effects and music. Low-angle shots are accompanied by quiet, low-frequency sounds. The abrupt cut can be punctuated by sudden vocal transitions similar to those in Citizen Kane, cutting Welles from a quiet, dimly lit scene to a violent comeback that begins with a parrot's window shrieking in a large shot. Sounds can gradually appear and gradually disappear, just as a picture does. Sounds can overlap and intertwine, as they do for images in a produced scene. Sounds can also suggest a levitating movement.

Graceful with a rising syllable (clesendo) The vibrations in the handheld shot can be amplified by a punctuated musical phrase (staccato). The possibilities are almost unlimited.

That and with the movie (Citizen Kane is an outstanding work in all fields of sound in the language written by Wells in collaboration with Hermann G. Mankiewicz) and the music (composed by Bernard Herrmann and sound effects) All of the famous scenes, for example, show Trina Kane listening to a song sung by Susan Alexander, a girl he met a while ago who will eventually become his lover and then his second wife.The scene takes place in her dirty apartment.As the song continues in the audio stream, the image gradually intertwines into a parallel shot showing Kane In a lavish apartment where we see an overdressed Susan finishing her song next to a grand piano in a matter of seconds, Wells investigates the relationship between Ken and his mistress, using the song to bridge the huge gap in time and space. The aria from the opera can be heard on the vocal tract distorting into a shrill, grim wailing.

In the opening segment of the film, the dialogue is presented through an echo chamber to suggest the empty snarl of who was once Kane's guardian as he stashes his papers in a tomb-like vault, and to show Kane's gradual estrangement from his first wife, Welles introduces a series of breakfast scenes while the voice stream hears us. The series of altercations between Kane and his wife, starting with sweet honeymoon words and ending with a stormy quarrel, the entire clip contains only thirty lines or so of dialogue. Throughout the film, Wells juxtaposes words, sound effects, music and images with a degree of complexity that reaches many meanings simultaneously. from In his film The Ambersons (The Wonderful We find Wells has improved his style of sound montage” where the dialogue intertwines between several groups of characters (5) Language here is not important for what it expresses from a mental point of view, but it is more correct that it is like a musical composition intended as a pure sound for emotional excitement, one of the most prominent events that This method is used is the departure scene in the last party of the Amberson family. The scene was beautifully portrayed by cinematographer Stanley Cortez with deep and clear photography, with expressive contrasts in lighting. Most of the characters were placed in the shadows. The dialogue of each group of characters quietly overlaps with the other group, and then the dialogue of this group in turn overlaps with the group. 2. The magical effect is poetic, despite the relative simplicity of the words themselves. Each group is characterized by a special vocal texture. The young people speak quickly and intensely An ordinary high-pitched voice and the elderly couple whispered slowly and closely. The cries of the various other family members dot these passages of dialogue in sudden outbursts. The entire scene is seen by the motion designer audio and visual. Objects in the shadows flow out of frame and into it like graceful ghosts, and their dialogue floats undulating in the shadows. The rivalries between the Ambersons are often recorded in similar fashion. Welsh representatives are not anxiously awaiting the go-ahead. Accusations and denunciations heaped at once, as in real life. Violent, loose and irrational words are often released in spontaneous outbursts of anger and humiliation, as in family quarrels, everyone shouts, but everyone does not listen.

Robert Altman used a similar montage technique in the sound of his films (MASJ), (McCabe and Mrs. Miller) and (Nashville). In fact, Altman's films have been harshly criticized for the lack of clarity of the vocal tracts - Altman, like Wells, often uses language as a pure sound, especially in some scenes of the movie (McCabe and Mrs. Miller) where about twenty vocal tracts are mixed. In such scenes many lines are intentionally left out. We can only catch a fleeting phrase here and there, but these phrases are enough to give us an idea of ​​what is really going on in the scene. Most of all, these phrases give us a sense of how language and sounds really sound in reality, ambiguity. Wolf and spin and full of funny antics.

Badly.. After Wells left the United States for Europe, the quality of his voice deteriorated. His European films are visually stunning as they were, but most of these films suffer from poor sound recording due to financial shortcomings, as it appears (5) in the movie (Folstaff), also known as (beats). Midnight uses mostly long and very long shots while the dialogue appears to be in close range.Part of his problem was simply not having the time (and money) to shoot all the necessary feet.Many of his actors are well-paid stars who can only work A few weeks with him each time he forces Wells He has to use substitute actors, and because they are substitutes, he has to film them from long distances so that the audience does not recognize that trick. When he merges the dialogue recorded before filming by the original actor with these distant images, many viewers find the difference confusing.

However, Wells can also create some poetic effects in this way, making fun of distance and closeness at the same time, and sometimes with a kind of psychological dichotomy between language and action. Since the late fifties, this difference between sound and image has become more common, even if there are no special problems in the financial budget. John Schlesinger, for example, used distant shots and close-up sound in his movie Midnight Cowboy to suggest He emphasizes the insignificance of his two heroes in New York City and their being like vermin. The sound in such cases serves as a means of continuity while forcing the audience to clear image to find the source of the dialogue.