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Need of Sound in Films

Sound is used in a film to add emotion and rhythm. Sound makes the film even better. The rhythm, melody, harmony and instrumentation of the music can strongly affect the viewer’s emotional reactions. Sound engages a distinct sense which can lead to “synchronization of senses” making a single rhythm or ex ression unify both image and sound. The effects of sound are often largely subtle and often are noted by only our subconscious minds. Sound effects can set the whole mood for a movie. !ot only sound effects are used in every film but also sim le melodies so as to make the film more sentimental, cheerful, and frightening. " meaningful sound track is often as com licated as the image on the screen. " good movie can make the viewer forget they#re watching a movie. $ut if the sound is bad, it takes us right out of the ex erience and reminds that not only the sound, but the scenery and acting is all make believe. So, the more senses of human body are used, the better because it makes it real. Secondly, film sound can direct our attention %uite s ecifically within the image. &or exam le, our attention on the foreground and not the background. The soundtrack can clarify image events, contradict them, or even render them ambiguous. 'n all cases, the sound track enters into an active relation with the image track. Thirdly, sound cues us to form ex ectations. &or exam le, a door creaking would make us ex ect someone or something has entered the room. The use of sound can creatively cheat or redirect the viewer’s ex ectations. 'n addition, sound gives a new value to silence. &or exam le, a %uiet assage in a film can create almost unbearable tension, forcing the viewer to concentrate on the screen and wait in antici ation for whatever sound will emerge. (astly, sound is full of many creative ossibilities as editing. The filmmaker can mix any sonic henomena into a whole. There are infinite visual ossibilities, which are )oined with infinite acoustic ossibilities to create a meaning. The creation of the sound track is similar to and demands as much choice and control as the editing of the image track. Sometimes the sound track is conceived before the image track. Sound guides the viewer’s attention. !ormally, this means clarifying and sim lifying the sound track so that im ortant material stands out. The entire sound track is com osed of three essential ingredients* • The human voice • Sound effects • +usic These three ingredients must be mixed and balanced so as to roduce the necessary em hases to create desired effects. ,. The human voice -dialogue.* /ialogue authenticates the s eaker as an individual or a real erson rather than the imaginary creation of a storyteller. /ialogue is used to tell the story and ex ress feelings and motivations of characters as well. 't is usually recorded and re roduced for maximum clarity. 'm ortant lines should not have to com ete with music or background noise. 0. Sound effects -synchronous and asynchronous sounds.* These are the Diegetic sounds -from inside the diegesis. in films i.e. the sound that both the audience and the characters can hear. Synchronous sounds are the sounds which are synchronized or matched with what is viewed. Synchronous sounds contribute to the realism of film and also hel to create a

like in a busy air ort or very s arse with an occasional sound emerging against a %uiet background. a articular musical theme associated with an individual character or situation may be re eated at various oints in a film in order to remind the audience of salient motifs or ideas. 't rovides a tone or an emotional attitude towards the story and3or the characters de icted.articular atmos here. and tone %uality of each sound. background music often foreshadows a change in mood. and the most recent "ura2 1/. like the /igital Theater Systems -/TS.* These are the !on2diegetic sounds i. 1. 5sually. use a combination of different sound coding media. Some. " mixer can recisely control the volume. 'n creating a sound track. $ackground music is used to add emotion and rhythm to a film. . wherein the actual sound is recorded se arately from the film on a 7/. &ilmmakers may select reexisting music to accom any the images or com ose new music for the film. +usic -background music. (ayers of "udio are used to create the right mood. the filmmaker guides our erce tion of the image and the action. Asynchronous sound effects are not matched with a visible source of the sound on screen. These interact to define the overall sonic texture of a film and enable us to distinguish the various sounds in film. like the o ular /olby /igital. &or exam le. The choice and combination of sound materials can also create atterns and motifs that run through the film as a whole. &or exam le. Today. $y choosing certain sounds. $ackground music may aid viewer understanding by linking scenes. " dry recording of the sound will be changed electronically to roduce the desired effect. or combining them. The three as ects of sound we erceive are* (oudness. 'n addition. &or exam le. There are others like T9:. Such sounds are included so as to rovide an a ro riate emotional nuance. de ends on selecting and reworking sounds.e. a dozen or more se arate tracks may be mixed in layers. These choices reflect the mood of the film the filmmaker aims to achieve. the voice of someone on a tele hone will be digitally filtered to make it more tinny and muffled. and there are several different ty es of digital sound systems in modern movie theaters. This hel s the audience to focus on only the sound which is im ortant and not needless background noise. the filmmaker must select sounds that will fulfill a articular function. model. these %ualities enable us to recognize different characters# voices. +usic can dominate dance scenes. Today. sim ler sound world than that of everyday life. 't also de ends on mixing. 4itch and Timbre. film sound is normally re rocessed to roduce exactly the %ualities desired. The choice of sound system in theaters is )ust as im ortant. 8ther systems. The sound track is not a set of discrete sound units but an ongoing stream of auditory information. The mix can be %uite dense. and they may also add to the realism of the film. the filmmaker will rovide a clearer. or very emotional moments with no dialogue. the sound that only the audience can hear. This is to shift the viewer’s attention to what is narratively or visually im ortant. encode sound information between the s rocket holes on the film. transitions. duration. but cues for synchronization are stored on the film itself. 6uiding the viewer’s attention.

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