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Landscape, soundscape, taskscape in the films The Hurt Locker (2008), Katalin Varga (2009)

Landscape, soundscape, taskscape in the films The Hurt Locker (2008), Katalin Varga (2009) A new, exciting film sound practice is emerging. Contemporary film soundtracks do not exclude music, but seamlessly integrate it with sound design and soundscape composition. Such emancipated use of sound in film, whether environmental or musical, has merged different sound practices developed in the 20th century: 1) Acoustic ecology and the soundscape composition explore the relationship of humans with their acoustic environments. They reflect and create awareness of soundscapes and use techniques of field recording to document the sonic environment preserving their contextual associations. 2) Digital sound and music technology enable sound designers to play the studio apparatus like a composer uses an orchestra, employing sophisticated techniques (e.g. selecting, augmenting, sampling, manipulating, mixing and diffusing sound in the surround field) to create emotions. As a result, the collaboration between image and sound track has intensified, for example, reducing the importance of the establishing shot. The New Soundtrack 3.2 (2013): 123­136 DOI: 10.3366/sound.2013.0042 # Edinburgh University Press www.euppublishing.com/SOUND KEYWORDS film sound landscape soundscape taskscape The Hurt Locker Katalin Varga This paper reflects theories of landscape, soundscape and taskscape in the context of film and shows how the artistic practice of soundscape composition can create rich film soundtracks, taking two http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The New Soundtrack Edinburgh University Press

Landscape, soundscape, taskscape in the films The Hurt Locker (2008), Katalin Varga (2009)

Martin, Jean
The New Soundtrack , Volume 3 (2): 123 – 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.2013.0042
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Abstract

A new, exciting film sound practice is emerging. Contemporary film soundtracks do not exclude music, but seamlessly integrate it with sound design and soundscape composition. Such emancipated use of sound in film, whether environmental or musical, has merged different sound practices developed in the 20th century: 1) Acoustic ecology and the soundscape composition explore the relationship of humans with their acoustic environments. They reflect and create awareness of soundscapes and use techniques of field recording to document the sonic environment preserving their contextual associations. 2) Digital sound and music technology enable sound designers to play the studio apparatus like a composer uses an orchestra, employing sophisticated techniques (e.g. selecting, augmenting, sampling, manipulating, mixing and diffusing sound in the surround field) to create emotions. As a result, the collaboration between image and sound track has intensified, for example, reducing the importance of the establishing shot. The New Soundtrack 3.2 (2013): 123­136 DOI: 10.3366/sound.2013.0042 # Edinburgh University Press www.euppublishing.com/SOUND KEYWORDS film sound landscape soundscape taskscape The Hurt Locker Katalin Varga This paper reflects theories of landscape, soundscape and taskscape in the context of film and shows how the artistic practice of soundscape composition can create rich film soundtracks, taking two

Journal

The New Soundtrack – Edinburgh University Press

Published: Sep 1, 2013

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