LO1: Understand how sound elements are used across media industries

LO1: Understand how sound elements are used across media  industries

TV Show - Killing Eve (https://youtu.be/4utDk2QB_wc?si=YinZI7eWOVzitp19)

The opening sequence of Killing Eve is iconic for its characterization of its antagonist, Villanelle, and how the thriller genre is conveyed through the use of sound within the scene in aid of the visuals. A slow-tempo, sombre song drones in the background (Xpectations - Unloved) to build uneasy tension within the scene whilst Villanelle looks toward a child as they both sit in an ice cream parlour. The connotations of the scene are highly intimate through emphasized sound effects of Villanelle perversely licking her spoon. The scene uses slowly panning close-ups in culmination with these effects as a sound effect of pursed lips plays to reveal the girl looking at the ice cream parlour worker, rather than Villanelle as the shot-reverse-shot signified. These emphasised, subtle sounds creating connotations of intimacy between these close-ups which is equally juxtaposed by the uncanniness of such emphasis in a grounded, public location. The droning soundtrack furthering this tension in a semantic juxtaposition in connotations from intimacy to threat. This is furthered signified by the shot-reverse-shot, eyeline matches and close ups. The scene's climax reveals Villanelle's jealousy and the threat which she poses as she lifts her watch and wipes a blood stain, audibly wiping her hand against the metal. She gets up and tips the worker with an emphasised 'clink' in the tip jar. Tension builds as the backing track grows to crescendo and a loud crash plays as Villanelle throws the young girl's ice cream on top of her and walks off; signifying the scene's climax as the title card appears in sync with the music. The use of sound within this scene expertly sells the thriller genre to an audience through creating the intellectual pleasure (Rick Altman) of trying to piece together Villanelle's selfish motivations as an assassin. The droning, slow-tempo music building tension and uncertainty as the intimate sound effects perturb the audience uncomfortably, building to a psychopathic climax that entertains the audience and leaves them questioning Villanelle's motives. 

Film - Bladerunner (https://youtu.be/5dA3DePirsE?si=AWkzWmUYVoUXuPGx)

The fight between Rick Deckard and the replicant Roy, is characterized as a game of cat and mouse which builds tension for the audience through visceral (pleasure - Rick Altman) and haunting sound effects. The sound of rain and the roar of thunder echo in the background all throughout the scene to signify the tension between the two characters in the scene. This furthered by the continuous low-key lighting and cuts between the characters as they chase one another. It pours onto a loose nail which Roy rips out of a piece of rotting wood; making a screeching sound effect as it does giving it a visceral sound to the action of the pull. Through practical effects, Roy forces the nail through his hand to try and regain control of it; it emanates a disgusting squeeze as he does so to make the audience uncomfortable at the sight. Tension builds further as Rick hides and an ominous drone echoes with the haunting soundtrack; signifying the horror of the scene like a slasher. To retaliate, Rick uses a steel pipe which furthers the immersion of the sci-fi genre, and creates a visceral pleasure for entertainment as he hits Roy, creating a clashing feedback of metal hitting metal (due to Roy being a replicant, a robot). Roy's returning dialogue 'That's the spirit' furthers this as it characterizes him as a psychopathic machine, praising Rick for attacking him. This in turn portrays Roy as an insurmountable danger to Rick which helps to sell the immersion and entertainment of the sci-fi/thriller genre. 

Animation - Howl's Moving Castle (https://youtu.be/Guxx_KTm_6M?si=24sZxRxexJcZzvKv)

Animation, in comparison to live-action, is significantly more dependent on sound to create it's narrative as foley is necessary to define and immerse the audience in the actions of a given scene. The connotations which Howl's Moving Castle create are significant to the ere of the novel's fantastical but still grounded tone which the film is adapted from. Howl is characterized through sound within the scene where he takes over for Sophie in making breakfast. The semantics of the scene create connotations of relaxation as the subtle sizzling of eggs and bacon and the stirring of the pan with a wooden spoon play diegetically in the background. Upon Howl taking over however, his clothes and jewellery make eminent noises as he pushes Sophie over; her groaning at his impedance which juxtaposes Howl's flamboyant styles signified by the sound and over the top appearance of his clothes which in turn symbolize his youth. This characterizing him through his impudence as he juxtaposes Sophie in this scene, foreshadowing their indifferences later in the film (and novel). The use of dialogue and a juxtaposing shot-reverse shot structure between Howl and Sophie convey this as she responds to Howl's question as to who hired her 'Calcifer did. He's disgusted by how dirty it is in here'. Sophie insulting Howl's residence perpetuating the dissonance between the high angle of her and the low angle of Howl. Sophie looking toward Howl in an eyeline match as Howl ignores her and talks to Michael instead; challenging conversational maxims and signifying their trivial conflicts. This in turn, creates a highly entertaining spectacle for the audience through how their relationship is represented. The verisimilitude of the scene is continuous in the growing volume of sizzling as Howl adds more and more eggs and bacon to the pan; this kind of grounded noise then contrasting with Calcifer's fantastical chewing as the fire demon cooking the food. Calcifer flaring up in audible fire effects to signify his annoyance toward Sophie to Howl in saying 'Not on purpose! She bullied me!'. 

Interactive - Lies of P (https://youtu.be/3ruBfqdoMOk?si=eGxK1ldqIU9svR8T)

Lies of P immerses its audience through a visceral feedback loop where each action that the player takes in gameplay, has an effective and clear response that immerses them into the world which the developers, Neowiz, have tried to create. The game has a heavy emphasis on combat and making the player feel engaged with the actions their character and the enemies perform is vital to creating the kind of verisimilitude that entertains an audience. For example, when using a weapon like the 'Bone-Cutting blade' which uses heavy slash attacks, will have a different sound effect to that of a piercing weapon like the 'City Longspear'. Giving further player feedback is evident in the kinds of enemies the player decides to attack such as the puppets (effectively robots) who will create a metallic slash when hit or attacking the player in comparison to a bloodied, flesh-like cut when attacking the carcass monsters. Additional sound effects like parries create a visceral 'twang' and a flashing effect to let the player know they've landed a successful counter. When parrying an enemy weapon, if that weapon breaks following the parry, an audible sting will occur to signify the player gaining a significant, visceral advantage. This therefore, adds to the gameplay entertainment of the game. Additionally, soundtrack helps immerse the player in the world and create excitement through diegetic and non-diegetic use. When playing a record or travelling through Rosa Isabelle Street, the music will have a grain effect and dwindle depending on the player's distance from the track's source which assists in immersion and signifies the age of the world the player is in through diegetic music. Non-diegetically however, spectacle is created during boss fights as awesome orchestral soundtracks play in the background, furthering the product's entertainment value by providing an exciting experience. 

Audio Piece: The War of The Worlds Musical: Thunder Child (https://youtu.be/dKZrAl-7ugo?si=5aYhXeiOe7piuAA0)

Musical's like Jeff Wayne's adaptation of H.G. Wellses' iconic sci-fi novel, The War of The Worlds, are entirely dependent on sound to convey the narratives and connotations they want to present to the audience. Thunder child, the fifth part of the musical, uses crescendo and sound effects to create spectacle and paint a vibrantly entertaining piece of imagery within the audience's minds. The connotations of epic danger grow as does the music in a hastened tempo and emerging volume as they climax on the infamous 'Ulla' of the Martians. Through dialogue (or more rather singing) the vessel Thunder Child is personified in 'cannons blazing as she came, brought a mighty metal warlord' through attributing metaphor in characterizing the ship as a 'metal warlord' creating spectacle in how this ship fights against the Martians in 'cannons blazing as she came'. However, after 'cut(ting) down' one of the Martian tripods, the others retaliate with their heat-rays 'melting the Thunder Child's valiant heart'. As this occurs, the soundtrack turns to an ear-piercing electric noise to symbolize the noise of the heat rays in crashes and a clash against the Thunder Child; creating a new, foreboding danger. The soundtrack grows lower as the ship dramatically falters in an orchestra of its name in martyrdom. As the narrator says 'The Earth now belonged to the Martians' the music stops and begins to distort as a sonorous climax of 'Ulla' bellows out to juxtapose the cries of Thunder Child in the symbolism of the massacre of mankind. This drama in a signified, tragic end creates immense spectacle and henceforth, entertainment as educational value is formed in the symbolism presented by the narration and accompanying soundtrack to create both intellectual and visceral pleasure for the audience.