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Title of the article: |
THE MEANING OF SOUND IN THE CREATION OF FILM CHARACTER` INNER WORLD (BY THE EXAMPLE OF L. SHEPITKO'S FILM “ASCENT”) |
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Author(s): |
Еlena А. Rusinova |
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Information about the author/authors |
Elena A. Rusinova — PhD in Arts, Associate Professor, Vice-rector, S. A. Gerasimov All-Russian State Institute of Cinematography, Wilhelm Pieck St. 3, 129226 Moscow, Russia. E-mail: mail@vgik.info |
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Section |
History of Arts |
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Year |
2019 |
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Volume |
Vol. 52 |
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Pages |
pp. 243–250 |
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Received |
November 09, 2018 |
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Date of publication |
June 28, 2019 |
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Index UDK |
791.43/.45 |
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Index BBK |
85.317 + 85.374.3(2)6 |
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Abstract |
Creating of the inner world of the film character onscreen is the most important stage in the process of forming an integral artistic image of the film. In cinema, as a synthetic art, the artistic image is provided with the help of a complex system of interaction of visual and sound means of expressiveness. The paper is to analyze the possibilities of sound engineering techniques that contribute to the reflection of the inner world of the movie character, the various states of his consciousness and mental activity. In film phonogram, a number of techniques are used to promote not only a clearer understanding of the spatial differences within the film’s form by viewers, but also to fuller reveal the artistic and ideological plan, as well as the aesthetics and even the director`s worldview such as: spatial-temporal and frequency-dynamic sound processing, sound design. To establish a special sound atmosphere of the various artistic spaces, aesthetical possibilities of sound landscapes are applied. The paper displays the development of audiovisual solution of the author's film, including the concept of film music, as exemplified by an outstanding work of the Russian film director Larisa Shepitko “Ascend”. As the author concludes the development of the sound component of the film`s general audiovisual concept can be crucial not only for shaping of the individual character`s artistic image, but also for expressing of aesthetic principles, artistic style and world view of the film director. |
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Keywords |
Russian cinema, film parable, film sound, sound directing, audio-visual concept of the film, film music. |
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References |
1 Bykov V. Sotnikov. Lib.ru. Available at: http://lib.ru/PROZA/BYKOW/sotnikov.txt (accessed 17 February 2019). (In Russian) 2 Kazarian R. A. Estetika kinofonografii [Aesthetics of Film Phonography]. Moscow, Izdatel'stvo IPK rabotnikov TV i RV, ROF “Eizenshteinovskii tsentr issledovanii kul'tury” Publ., 2011. 248 p. (In Russian) 3 Rybak L. Poslednii razgovor [The last conversation]. Kinopanorama: Sovetskoe kino segodnia [Film panorama: Soviet cinema today]. Moscow, Iskusstvo Publ., 1981. 335 p. (In Russian) 4 Chto takoe iazyk kino? [What is film language?]. Moscow, Iskusstvo Publ., 1989. 238 p. (In Russian) 5 Shreider P. Transtsendental'nyi stil' v kino: Odzu, Bresson, Dreier [The Transcendental Style in Film: Odzu, Bresson, Dreyer]. Kinovedcheskie zapiski, 1996/97, no 32, pp. 182–201. (In Russian) 6 Eizenshtein S. M. Metodologiia zvukozritel'nogo montazha [Methodology of sound montage]. Montazh [Montage]. Moscow, ROF “Eizenshteinovskii tsentr issledovanii kul'tury” Publ., Muzei kino Publ., 2000. 592 p. (In Russian) 7 Eizenshtein S. M. Obraz i metafora [Image and Metaphor]. Montazh [Montage]. Moscow, ROF “Eizenshteinovskii tsentr issledovanii kul'tury” Publ., Muzei kino Publ., 2000. 592 p. (In Russian) 9 Schafer R. M. The New Soundscape. A Handbook for the Modern Music Teacher. Scarborough, Ontario, BML, 1969. 68 p. (In English) |
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