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Creating a new sound world for Dracula (Browning 1931)

Creating a new sound world for Dracula (Browning 1931) Dracula (Browning 1931) belongs to the transitional period between silent and sound films. Its original soundtrack consists of only a few sonic elements, primarily dialogue and a few incidental sound effects. Music is used only at the beginning and in the middle (one diegetic scene) of the film. In 2012 I created a multi-channel composition which involved restoring the original soundtrack and adding my own sound and music elements. The final multi-channel artefact employed additional material (usually found in the rear channels) which provided a contextual commentary accompanying the restored original film. This article explores how this new multi-channel composition was created, and how it provided an enhanced, contextual meaning for the film. The article includes a discussion of the technical and aesthetic issues involved in cleaning the original dialogue, and providing the film with new music and sound design. KEYWORDS Dracula soundtrack multi-channel composition 5.1 sound early sound film contextual film sound Todd Browning surround sound 1. Dracula (in italics) will refer to Browning's film (1931) throughout this article. Studies on film sound and music have increased significantly over the last few decades. For example, Mark Evans (1979), George Burt (1994), James Buhler, Caryl Flinn, David Neumeyer http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The New Soundtrack Edinburgh University Press

Creating a new sound world for Dracula (Browning 1931)

Petrikis, Titas
The New Soundtrack , Volume 5 (1): 35 – Mar 1, 2015
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Publisher
Edinburgh University Press
Copyright
© Edinburgh University Press and the Contributors
Subject
Articles; Film, Media and Cultural Studies
ISSN
2042-8855
eISSN
2042-8863
DOI
10.3366/sound.2015.0067
Publisher site
See Article on Publisher Site

Abstract

Dracula (Browning 1931) belongs to the transitional period between silent and sound films. Its original soundtrack consists of only a few sonic elements, primarily dialogue and a few incidental sound effects. Music is used only at the beginning and in the middle (one diegetic scene) of the film. In 2012 I created a multi-channel composition which involved restoring the original soundtrack and adding my own sound and music elements. The final multi-channel artefact employed additional material (usually found in the rear channels) which provided a contextual commentary accompanying the restored original film. This article explores how this new multi-channel composition was created, and how it provided an enhanced, contextual meaning for the film. The article includes a discussion of the technical and aesthetic issues involved in cleaning the original dialogue, and providing the film with new music and sound design. KEYWORDS Dracula soundtrack multi-channel composition 5.1 sound early sound film contextual film sound Todd Browning surround sound 1. Dracula (in italics) will refer to Browning's film (1931) throughout this article. Studies on film sound and music have increased significantly over the last few decades. For example, Mark Evans (1979), George Burt (1994), James Buhler, Caryl Flinn, David Neumeyer

Journal

The New Soundtrack – Edinburgh University Press

Published: Mar 1, 2015

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