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Losing Sight of Atmospheric Sounds in Televised Nature Documentary

Losing Sight of Atmospheric Sounds in Televised Nature Documentary The production of soundtracks for televised nature documentaries involves complexities in balancing the audience's sonic perceptions and emotions with audio content and scientific rigour. In addition, soundtracks need to be congruent with audience expectations and commercial imperatives. Popular televised nature documentaries often appear to be narrative melodramas with environmental soundscapes submerged by narration and music. This paper examines the correlations between perceptual agency, educational practices and production constraints with regards to sound production in nature documentaries. The purpose is a clarification surrounding the causative factors and results of the curious neglect for the sound of our natural world within an industry dedicated to the sensory portrayal of nature. PERCEPTUAL MEDIATION We have lived on two different planets for decades: one threatened by ecological collapse, the other characterised by televised wildlife programmes (Monbiot 2002). Whether in cinematic contexts or in the The New Soundtrack 7.1 (2017): 67­82 DOI: 10.3366/sound.2017.0097 # Edinburgh University Press and www.euppublishing.com/sound KEYWORDS atmospheres audio technology broadcast documentary mixing music nature perceptions recording television everyday, the perceptual and interpretative parameters generated by sonic effects have repercussions on the audible environments transmitted by sound creators to their audiences. A rapidly evolving reliance on recorded visual `truth' weakens http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The New Soundtrack Edinburgh University Press

Losing Sight of Atmospheric Sounds in Televised Nature Documentary

Delmotte, Isabelle
The New Soundtrack , Volume 7 (1): 67 – Mar 1, 2017
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Publisher
Edinburgh University Press
Copyright
© Edinburgh University Press and Isabelle Delmotte
Subject
Articles; Film, Media and Cultural Studies
ISSN
2042-8855
eISSN
2042-8863
DOI
10.3366/sound.2017.0097
Publisher site
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Abstract

The production of soundtracks for televised nature documentaries involves complexities in balancing the audience's sonic perceptions and emotions with audio content and scientific rigour. In addition, soundtracks need to be congruent with audience expectations and commercial imperatives. Popular televised nature documentaries often appear to be narrative melodramas with environmental soundscapes submerged by narration and music. This paper examines the correlations between perceptual agency, educational practices and production constraints with regards to sound production in nature documentaries. The purpose is a clarification surrounding the causative factors and results of the curious neglect for the sound of our natural world within an industry dedicated to the sensory portrayal of nature. PERCEPTUAL MEDIATION We have lived on two different planets for decades: one threatened by ecological collapse, the other characterised by televised wildlife programmes (Monbiot 2002). Whether in cinematic contexts or in the The New Soundtrack 7.1 (2017): 67­82 DOI: 10.3366/sound.2017.0097 # Edinburgh University Press and www.euppublishing.com/sound KEYWORDS atmospheres audio technology broadcast documentary mixing music nature perceptions recording television everyday, the perceptual and interpretative parameters generated by sonic effects have repercussions on the audible environments transmitted by sound creators to their audiences. A rapidly evolving reliance on recorded visual `truth' weakens

Journal

The New Soundtrack – Edinburgh University Press

Published: Mar 1, 2017

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