فصل الصوت ، المؤثرات الصوتية .. كتاب فهم السينما

sound effects :

Although the primary function of sound effects is generally thought of as atmosphere, they can be surprisingly close sources of meaning in a film. Directors like Michelangelo Antonioni spend nearly as much time on sound effects as they do with music and dialogue. In L'Aventura, Antonioni labored to recreate the wailing of the lonely wind sweeping across a dormant volcano (5-8). In this same film, the waves of the sea, with their monotonous pressing strokes, suggest the gradual spiritual erosion of the heroine.

The intensity, intensity, and rhythm of sound effects can greatly affect our responses to each type of noise. High-frequency sounds are. Generally speaking, a sense of tension occurs in the listener. If this noise continues for long, the harsh intensity can be quite unnerving. For this reason, sharp sounds, including music, are often used in anticipation scenes, especially just before and during the climax. Low-frequency sounds are usually heavy, full, and less tense than sharp sounds. Low-frequency sounds are used Mostly to emphasize the dignity or solemnity of a scene such as that male chorus that concerns them in The Seven Samaritans. Low-frequency sounds can also suggest anxiety and ambiguity. A scene of anticipation often begins with such sounds, which gradually increase in frequency as the scene escalates.

Intensity works the same way. Loud voices tend to be strong, intense, and energetic, while quiet voices sound soft and insecure. The soundtrack of Kubrick's A Clockwork Orange is almost constantly loud. The voices are amplified and reverberating, and the dialogue is more blatant than usual in its intensity (5) - (9). Our ears are attacked by a continuous torrent of sounds. Kubrick uses the method of auditory “attack” on the audience, and the result is that the intensity of the sound does not let us relax. The sound is violent in its intensity, like the dramatic events of the movie.

The same principles apply to sound rhythm. The faster the tempo, the more tension it creates in the listener. In the cruiser scene from William Friedkin's film The Connection (French), all of these sound principles are put to great use. As the cruiser reaches its climax, the screeching car gets louder. And the rumbling of a runaway underground train as it goes faster and louder, in fact, accounts for a lot of the success of this. The scene returns to its sound effects, which were produced as masterfully as the picture.

Offscreen sounds usually bring the offscreen space into the post. Sound tends to expand the image beyond the boundaries of the frame. In Kubrick's film "Ways", for example, the sounds of cannons and rifles constantly remind soldiers in the trenches of the dangers they must face when entering the battlefield. Distant sounds can suggest a sense of distance between locations on both a literal and symbolic level. The movie (Long Day's Journey into Night) mentions The distant fog trumpet the characters on the psychological journey that each of them will undertake before the evening is over, although each of them wishes to forget However, the foghorn brings them back to the current reality that has completed its formation in the past. Sound effects can evoke fear in anticipation and horror films. Since we tend to be afraid of what we can't see, directors like Hitchcock and Fritz Lanck sometimes use out-of-sync sound effects to strike a tone of anxiety. The sound of a creaking door in a dark room can be more frightening than the image of a person sneaking through it in a movie because the killer child is known as (M).
In the Hitchcock movie (Psycho), sound effects were used for sharp sounds of birds in different shapes; The appearance of a shy, lovable young man (Anthony Perkins) associated with birds in the beginning of the film, stuffing different types of birds as a hobby, and his special features are tense and closer to the shape of a falcon. After a while from the beginning of the film and when the murder takes place, the audio stream gives us sharp music mixed with sharp cries of birds. The audience assumes that the killer is the mother of the boy, but the birds are associated with the boy. The boy has exhumed and stuffed his long dead mother's body and often wears his mother's clothes. While the audience thinks he is seeing the mother killing two victims, in reality he has seen the schizophrenic boy in his alter ego - that of his mother. The sound effects of birdsong provide an early indication of this psychological shift.

In fact, it's because images tend to dominate sounds as they really interact with a film. Many of the sound effects perform their work on a subconscious level. In the movie (Psycho), the heroine Janet (Lee) drives her car through a heavy rainstorm. In the audio stream, we hear the windshield wipers' blades hitting angrily, interrupting the torrential downpour later. When she enters the bathroom in a motel (car hotel), we hear the same sounds repeated. The source of the sound of the water is clear, but the striking sounds appear to have come from an unknown place, until the killer attacks the patient into the bathroom with a knife open to pounce. This is what happens in Sam Peckinpa’s movie (Clubs of Straws), where the film is interspersed with the sounds of glass scattering and breaking, and these sounds have an effect Unnerving the audience. Late in the movie, when the hero's glasses are shattered in a vicious attack, we clearly see the connection of the sound effects.

Sound effects can perform clear symbolic functions for us (5-10) Symbolic sounds can be decided by the dramatic framework, as in Luis Buñuel's movie (Beauty of the day where bells toll are coupled with the heroine's sexual fantasies. Other symbolic sound effects are more direct in Berkman's Wild Cherry. The hero, an old man, has a nightmare. The surreal scene is almost silent except for the constant sound of a heartbeat—a reminder to the professor that his life will soon end). .

There is actually a big difference between hearing and listening. Our minds self-filter unimportant sounds at a time when we speak in a noisy location in a city, for example, we listen to the speaker, but we hardly hear the sounds of traffic. The receiver is not, however, able to choose. Most sound streams in movies are cleaned of all similar sound impurities. The film scene may include selected sounds from the noise of the city to suggest the urban location, but once this frame is fixed, the external sounds diminish and may sometimes fade away in order to allow us to hear the dialogue clearly. Since the late fifties, a number of directors have preserved the noisy soundways in the name of greater realism (5 - 11) .
Influenced by the school of realism called - Cinema of Truth, which avoids all processed and recreated sounds. Directors like Jean-Luc Coudard allowed even important dialogue scenes to be removed with background sounds.

In the film (masculine and feminine, Kodar's use of the voice is particularly brave. Indeed, his insistence on all natural sounds as recorded in The View frightens many critics who complain of humour). However, the noisy audio stream is not due to technical negligence, as claimed by a number of those who underestimated it. The film addresses violence, loss of privacy, and the need for calm and peace. Due to the quality of its soundtrack, Kodar no longer needs open commentary on these topics, as she insistently insists in almost every scene. One of the film's most impressive sound techniques is the use of gunshots in the transitions. The suddenness of the montage is often punctuated by the distracting explosion of these shots, which have no visual source. Other scenes are accompanied by the pounding of bowling balls and billiards, the crackling of chain machines and the unnerving thump of a typewriter.
They all suggest muffled gunshots. The important dialogue is sometimes drowned out by the noise of traffic in the street, a close conversation, or the clank of pots in a café. Because we are accustomed to a clean sound stream, we are initially disturbed by “external” sounds. However, this is precisely Kodar's point. He wants to remind us that tranquility is almost completely absent in contemporary urban life, where it is difficult to obtain the most primitive kind of concentration.

Silence is important. There is something about absolute silence in talking films that attracts attention to itself, like the absolute standing of the film. That is, a loose, suspended expansion and a pending sensation about to explode. Arthur Penn took advantage of this phenomenon at the end of his movie (Bonnie and Clyde). The lovers stop on a country road to help a friend (actually an informant) in an apparently broken car. The "friend" rolls confusedly under the car. There is a long moment of silence, and the two lovers exchange confused, then worried looks. Suddenly, the soundtrack roars with machine guns as the two lovers are brutally shot by policemen hiding in the bushes. In some films, Bayramkan's Silence is a good example of this. The empty pauses between the lines of dialogue are more meaningful than the dialogue itself. These pauses suggest anxiety, fear, and doubt, and in another context, anger and evasion

And complete exhaustion.

The world without sound is an unreal world in many ways, and some directors have taken advantage of silence as a surreal way to suggest strange and dreamy situations. For some reason, we find follow-up shots particularly terrifying when they're silent. FW Myrna and The Last Laugh seem like a nightmare because of the combination of these styles. In fact, many German films of the 1920s seem surreal and psychotic because of the long silent camera, as if trying to find its victim.

Silence in talking films, like a rigid frame, may be used to symbolize To death, as we associate the sound with the current life. Kurosawa uses this method to an effect in his movie (Ikiru), also known as (So We Live), after the hero learns through a doctor that he will die of cancer. The old hero is completely absorbed in the fact of death and emerges from the medical building into an absolutely silent sound stream. He is about to be run over by a car in the street, and the sound stream suddenly erupts, mixing with the noise of the city's traffic. The hero is catapulted back into the world of the living. In the movie Between the Big Little Man, we find the sonic stream “dead” as well, after the hero’s Indian wife and child are brutally killed by some mounted soldiers.