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Feeling and Filmmaking: The Design and Affect of Film Sound

Feeling and Filmmaking: The Design and Affect of Film Sound Discussion of cinematic affect most typically attends to response, the impact of the film as we experience it. In this vein, various writers have drawn attention to the physicality of hearing (Sobchack 2005; Cubitt 1998), while others have illuminated the ways in which sound communicates sensory information about the film world (Altman 1992; Chion 1994). However, attention to practice offers further opportunities to think about affect, that decisions made by sound practitioners take into account such considerations; sound practitioners frequently speak about their work in terms of feel, texture and experience. Moreover, the processes of creating film sound requires physical activity and involvement, play and experimentation, which might be literally physical, or have a kind of tactile analogy (to weaving, sculpting and so on). In this sense, affect is in the labour of making the film, as well as in our watching of it. Bringing together theory and practice therefore offers an opportunity to more fully develop an account of the particular contributions of sound to cinematic affect, and perhaps illuminate the significance of practitioners' work to the sensory appeal of film more generally ­ highlighting the creative effort of those filmmakers who traditionally receive less recognition for http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The New Soundtrack Edinburgh University Press

Feeling and Filmmaking: The Design and Affect of Film Sound

Donaldson, Lucy Fife
The New Soundtrack , Volume 7 (1): 31 – Mar 1, 2017
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Publisher
Edinburgh University Press
Copyright
© Edinburgh University Press and Lucy Fife Donaldson
Subject
Articles; Film, Media and Cultural Studies
ISSN
2042-8855
eISSN
2042-8863
DOI
10.3366/sound.2017.0095
Publisher site
See Article on Publisher Site

Abstract

Discussion of cinematic affect most typically attends to response, the impact of the film as we experience it. In this vein, various writers have drawn attention to the physicality of hearing (Sobchack 2005; Cubitt 1998), while others have illuminated the ways in which sound communicates sensory information about the film world (Altman 1992; Chion 1994). However, attention to practice offers further opportunities to think about affect, that decisions made by sound practitioners take into account such considerations; sound practitioners frequently speak about their work in terms of feel, texture and experience. Moreover, the processes of creating film sound requires physical activity and involvement, play and experimentation, which might be literally physical, or have a kind of tactile analogy (to weaving, sculpting and so on). In this sense, affect is in the labour of making the film, as well as in our watching of it. Bringing together theory and practice therefore offers an opportunity to more fully develop an account of the particular contributions of sound to cinematic affect, and perhaps illuminate the significance of practitioners' work to the sensory appeal of film more generally ­ highlighting the creative effort of those filmmakers who traditionally receive less recognition for

Journal

The New Soundtrack – Edinburgh University Press

Published: Mar 1, 2017

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