Sound in Experimental Film
- Giovanni Peresson
- Oct 13, 2023
- 4 min read
By Giovanni Peresson 13/10/2023
Introduction:
What makes Sound design throughout experimental film stand out from the mainstream sound design? The sound design in experimental film sets itself apart from the conventions of cinema and has no limits, a filmmaker has the freedom to create whatever their heart desires. A films sound design is it's heart and sole. When an audience is watching a film and there are poor visuals such as subjects not being fully in focus or there is camera shake an audience will believe that this was an intentional design by the creator. Yet, when it comes to sound there is no forgiveness, you have to get it right. With a good sound design an audience could have their eyes closed and still know what is happening.
Yet, it always been this way and if we delve back through history and take a look at early film and experimental film during the 1920's before sound became a part of film there was the silent film era and during this time period excluding when there would be a live theatre orchestra playing at the theatre throughout the screening with uniquely composed music for the film. There was no sound design, the audience's attention was solely focused on the visual aspect of the film.
From my experience watching Experimental films one sound design technique I have found to be common place is the use of simplification and over exaggerating sound effects. The best way I can put it is I imagine they creating sound designs the same way you would make one for an animation. This could be for one of two things depending on the film it could be styles which for a lot of experimental films it does work although it could also be due to the low budget nature and having sound effects re-used rather than created specifically for that film.
The Avant Garde Soundtrack:
The sound track in an Experimental is a key component in the sound design. It helps shape the audience's emotions using non-traditional musical composition and instruments. The soundtrack is used to further develop the narrative and create an atmosphere within the film. With experimental film it is common practice that music be specifically composed during the post production stage to fit the scenes and match the tempo of the visuals.
A prime example of experimental film soundtrack is
French composer Pierre Schaeffer . Shaeffer uses a composing technique which is one of my favourites which I have only ever seen in two places. In his compositions he creates almost diegetic music where he incorporates and samples sounds which would be heard in the scene into the soundtrack. In the 1971 film Millares 1970 (1971) Escobio E. Schaeffer uses the sounds of gunshots and explosions in this documentary to create the soundtrack. This type of composition can also be seen in the video game Call of duty Word at war, (2008), Treyarch During the campaign Mission Black Cats where the gunfire from the PBY aircraft is a part of the soundtrack which creates a deep sense of immersion. Something written by Shaeffer translated to English which summarises his work very well and highly interests me as it has become true is "The future of music lues in the hidden vibrations of every objects" Shaeffer P. (1966)m Traité des objects musicaux Éditions du Seuil. In modern music composing a lot of base sounds sampled to create different types of beats and rhythms are created from every day objects as he says such as flicking a light switch, dinking a bottle or even tapping your fingers on a table.
Sound design techniques:
There is a near infinite amount possibilities when it comes to the sound design in experimental film. Any sound you can think of can be recreated with one method or another. Experimental film makers regularly make use of fictional non-diegetic sounds throughout their soundscapes as it suits the filmmaking style. With Experimental film having surrealist properties its fitting that a surrealist sound design is something you wouldn't find in the real world.
With modern technology and software, pandoras box has been opened when it comes to experimental film sound design. Techniques such as adjusting speed, layering, changing pitch, eq, reversing and creating sounds using foley have become common place in both mainstream and experimental film. These non-dietetic sounds can the be used for multiple purposes for example, developing the narrative, forms of symbolism and give further meaning to the visuals. Silence can be a simple yet effective if used correctly within a sound design heightening tension leading up to an important moment in film.
My Conclusion:
Throughout my research on this subject I have found some very interesting information and methods used throughout experimental film sound design and using this alongside my past experience recording and editing sound for various projects, short films and soundscapes I've made in my own time has opened my mind. When it comes to the 1-4 short experimental film I will be making this semester, the sound design will be a key component and that may very well be where I will start and use a soundscape to create the visuals.
Having a soundtrack that fits my idea will be a key component in the final stages of post production which will assist me creating the tempo of which to tell my story. I plan on using the soundtrack not to create emotion, rather to enhance the current emotion I will be trying to portray. My personal feeling towards soundtracks is that it is important not to use a soundtrack to create emotion as in a sense you are somewhat cheating but it is important to use it in a way that entwines the sound design and visuals into a single harmonious final result.
References:
Millares 1970 (1971) Escobio E.
Call of duty Word at war, (2008), Treyarch
"The future of music lues in the hidden vibrations of every objects" Shaeffer P. (1966)m Traité des objects musicaux Éditions du Seuil.
This Blog has been written for educational purposes as part of CIN506 Experimental Film Week 2 Blog.
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