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Altered States, Altered Sounds: An investigation of how ‘subjective states’ are signified by the soundtrack of dream sequences in narrative fiction cinema

Altered States, Altered Sounds: An investigation of how ‘subjective states’ are signified by the... This article examines how soundtracks signify characters' subjective experiences of dream states in narrative fiction cinema. It uses Van Leeuwen's sound semiotic techniques (`what sound says') alongside other established film theorists to show how a `language' has evolved in cinema to signify the difference between reality and these altered states. It explores how sound and music are used to signify characters' subjective experiences and investigates what makes these uses of sound apt signifiers for these states of mind. Following Van Leeuwen's (1999), it adapts Halliday's (1978) conception of `modality' not only to express different degrees of truth through the medium of language (e.g. modal auxiliaries such as: may, will, must) but also through different modality configurations of sound that express characters' subjective experiences as they move from reality to an altered state through the adjustment (reduction, increase The New Soundtrack 3.2 (2013): 175­191 DOI: 10.3366/sound.2013.0045 # Edinburgh University Press www.euppublishing.com/SOUND KEYWORDS dreams altered states sound semiotics modality aural parameters or neutrality) of aural parameters such as pitch, dynamic, volume, reverberation and so on. INTRODUCTION Since the inception of cinema, technological developments and cultural changes have widened the possibilities of how directors signify characters' experience of altered states as http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The New Soundtrack Edinburgh University Press

Altered States, Altered Sounds: An investigation of how ‘subjective states’ are signified by the soundtrack of dream sequences in narrative fiction cinema

Gabriel, Gilbert
The New Soundtrack , Volume 3 (2): 175 – Sep 1, 2013
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Publisher
Edinburgh University Press
Copyright
© Edinburgh University Press
Subject
Articles; Film, Media and Cultural Studies
ISSN
2042-8855
eISSN
2042-8863
DOI
10.3366/sound.2013.0045
Publisher site
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Abstract

This article examines how soundtracks signify characters' subjective experiences of dream states in narrative fiction cinema. It uses Van Leeuwen's sound semiotic techniques (`what sound says') alongside other established film theorists to show how a `language' has evolved in cinema to signify the difference between reality and these altered states. It explores how sound and music are used to signify characters' subjective experiences and investigates what makes these uses of sound apt signifiers for these states of mind. Following Van Leeuwen's (1999), it adapts Halliday's (1978) conception of `modality' not only to express different degrees of truth through the medium of language (e.g. modal auxiliaries such as: may, will, must) but also through different modality configurations of sound that express characters' subjective experiences as they move from reality to an altered state through the adjustment (reduction, increase The New Soundtrack 3.2 (2013): 175­191 DOI: 10.3366/sound.2013.0045 # Edinburgh University Press www.euppublishing.com/SOUND KEYWORDS dreams altered states sound semiotics modality aural parameters or neutrality) of aural parameters such as pitch, dynamic, volume, reverberation and so on. INTRODUCTION Since the inception of cinema, technological developments and cultural changes have widened the possibilities of how directors signify characters' experience of altered states as

Journal

The New Soundtrack – Edinburgh University Press

Published: Sep 1, 2013

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