THE MEANING OF NEW SOUND TECHNOLOGIES IN THE CREATION OF THE MOVIE’S AESTHETIC SPACE
UDC index:
791.3
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Information about authors: Rusinova Elena Anatolyevna, PhD in Art History, Associate Professor, Vice-Rector for Science Research, Department Chair of Sound Direction, Russian State University of Cinematography named after S. Gerasimov (Moscow, Russian Federation). E-mail: vgik_sound@mail.ru
Annotation: During the last three decades, there have been qualitative changes and improvements in recording technics and technologies in the film industry, which have noticeably affected the sound quality of movies and, conse- quently, the perception of the audience. Sound has become one of the most important resources of artistical expressiveness in contemporary cinema, having influenced the aesthetic form of film. The fast development of digital technologies has allowed the viewer to perceive the depth and variety of the acoustic and artistic aesthetic space of the film in a new way, with all the intensity of psychological and sensual impressions. However, the current situation in the film industry also reveals a number of problem areas relevant to the cinema art. Аmong them: the question of parity of acoustic and aesthetic parameters of the film sound; the meaning of the sound component of the film form in evaluation of the picture’s art quality; estimation of psycho-physiological, emotionally sensual and intellectual aspects of the audience’s perception of the elements of the film phonogram in the creative process, etc. This article is devoted to one of these topical issues: the meaning of sound in the creation of aesthetic space in a contemporary film. The purpose of the analysis was to reveal the possibilities of new multi-channel recording formats in creating not only sound ”movie attractions” but also meaningful, aesthetically significant audiovisual spaces, in particular, using the example of the film “Gravity” created in Dolby Atmos format. The analysis of the evolution of sound recording formats in the process of film production and the reproduction of a phonogram establishes a direct relationship between the stages of the development of sound recording/sound reproduction technologies and changes in the artistic language of the cinema. The results of the analysis lead to understanding that even at the present time, in the heyday of sound technologies, the words of the great director S.M. Eisenstein, who wrote about the need for constant creative search for a unique sound-visual image in the context of its time and a specific artistic form, remain relevant.
Keywords: contemporary film art, film sound, multi-channel sound formats, immersive sound, film music.
DOI:
Article ID in the RSCI:
Article file: Download
Information about authors: Rusinova Elena Anatolyevna, PhD in Art History, Associate Professor, Vice-Rector for Science Research, Department Chair of Sound Direction, Russian State University of Cinematography named after S. Gerasimov (Moscow, Russian Federation). E-mail: vgik_sound@mail.ru
Annotation: During the last three decades, there have been qualitative changes and improvements in recording technics and technologies in the film industry, which have noticeably affected the sound quality of movies and, conse- quently, the perception of the audience. Sound has become one of the most important resources of artistical expressiveness in contemporary cinema, having influenced the aesthetic form of film. The fast development of digital technologies has allowed the viewer to perceive the depth and variety of the acoustic and artistic aesthetic space of the film in a new way, with all the intensity of psychological and sensual impressions. However, the current situation in the film industry also reveals a number of problem areas relevant to the cinema art. Аmong them: the question of parity of acoustic and aesthetic parameters of the film sound; the meaning of the sound component of the film form in evaluation of the picture’s art quality; estimation of psycho-physiological, emotionally sensual and intellectual aspects of the audience’s perception of the elements of the film phonogram in the creative process, etc. This article is devoted to one of these topical issues: the meaning of sound in the creation of aesthetic space in a contemporary film. The purpose of the analysis was to reveal the possibilities of new multi-channel recording formats in creating not only sound ”movie attractions” but also meaningful, aesthetically significant audiovisual spaces, in particular, using the example of the film “Gravity” created in Dolby Atmos format. The analysis of the evolution of sound recording formats in the process of film production and the reproduction of a phonogram establishes a direct relationship between the stages of the development of sound recording/sound reproduction technologies and changes in the artistic language of the cinema. The results of the analysis lead to understanding that even at the present time, in the heyday of sound technologies, the words of the great director S.M. Eisenstein, who wrote about the need for constant creative search for a unique sound-visual image in the context of its time and a specific artistic form, remain relevant.
Keywords: contemporary film art, film sound, multi-channel sound formats, immersive sound, film music.
