Watch ‘Girlhood’ by Celine Sciama
Acousmetre- ‘a kind of voice-character specific to cinema that derives mysterious powers from being heard not seen. The disembodied voice seems to come from everywhere and therefore to have no clearly defined limits to its power. Acousmetre depends for its effects on delaying the fusion of sound and image to the extreme, by supplying the sound and withholding the image of the sounds true source until nearly the very end of the film. Only then, when the audience has used its imagination to the fullest is the… ‘
– Schaeffer Acousmatic
Synchresis- The forging between something one sees and something one hears. It is the mental fusion between a sound and a visual when’s these occur at exactly the same time. For a single face in the screen there are dozens of allowable voices, just as for a shot of a hammer hundreds of sounds will do. The sound of an axe chopping wood played exactly in sync with a bat hitting a baseball, will ‘read’ as a particularly forceful hit rather than a mistake by the filmmakers.
– Michelle Chion Audio Vision
SHAPE MEANING THROUGH SOUND
The privilege of voice in cinema- it takes priority over all other sonic element in audiovisual media. There are voices, and then everything else. In every audio mix, the presence of a human voice instantly sets up a hierarchy of perception. The level and presence of the voice has to be artificially enhanced over the sounds, in order to compensate for the absence of landmarks that in live binaural conditions that allow us to isolate the voice from ambience.
Todays task- Recording atmosphere for ‘We need to talk about Kevin’ scene.