Exploring Film Sound: A Comprehensive Overview

Let's delve into dialogue. Similar to stage drama, dialogue in film serves to narrate the story and convey the emotions and motivations of characters. Often, in film, the audience perceives little distinction between the character and the actor portraying them. For instance, Humphrey Bogart embodies the character Sam Spade; the actor's voice adds depth to the character's persona.

When voice textures fit the performer’s physiognomy and gestures, a whole and very realistic persona emerges. The viewer sees not an actor working at his craft, but another human being struggling with life. It is interesting to note that how dialogue is used and the very amount of dialogue used varies widely among films. For example, in the highly successful science-fiction film 2001, little dialogue was evident, and most of it was banal and of little intrinsic interest. In this way the film-maker was able to portray what Thomas Sobochack and Vivian Sobochack call, in An Introduction to Film, the ‘inadequacy of human responses when compared with the magnificent technology created by man and the visual beauties of the universe’.

The comedy Bringing Up Baby, on the other hand, presents practically non-stop dialogue delivered at breakneck speed. This use of dialogue underscores not only the dizzy quality of the character played by Katherine Hepburn, but also the absurdity of the film itself and thus its humor. The audience is bounced from gag to gag and conversation to conversation; there is no time for audience reflection. The audience is caught up in a whirlwind of activity in simply managing to follow the plot. This film presents pure escapism – largely due to its frenetic dialogue.

Synchronous sound effects are those that are synchronized with the actions seen on screen. For example, if a character is depicted playing the piano, the sound of the piano keys is synchronized with the action. Synchronous sounds enhance the realism of the film and help create specific atmospheres. For instance, the 'click' of a door opening may simply reinforce the film's realism for the audience, who may unconsciously expect such sounds. However, if the 'click' of a door opening is part of a suspenseful scene, such as a burglary, the sound mixer may amplify the volume of the sound to heighten suspense.

On the other hand, asynchronous sound effects are those that are not synchronized with any visible source on screen. These sounds are included to add emotional depth and enhance the realism of the film. For example, a filmmaker might choose to include the distant sound of an ambulance siren in the background while portraying an arguing couple in the foreground. The asynchronous ambulance siren underscores the emotional tension of the argument, while also contributing to the authenticity of the film's urban setting.

Background music in films is a familiar element, often noticed only in its absence due to its ubiquitous presence. Its purpose is to evoke emotions and establish rhythm, usually subtly influencing the tone and emotional context of the story or characters depicted. Additionally, background music often anticipates changes in mood; for instance, dissonant music may forewarn of impending threats or disasters in a film.

Background music also aids in linking scenes and enhancing viewer comprehension. For example, a recurring musical theme associated with a character or situation may be strategically used throughout a film to remind the audience of key motifs or concepts.

The realm of film sound encompasses both traditional practices and innovative approaches. Audiences have come to expect heightened musical intensity during action sequences like car chases, and eerie sound effects in horror films. However, it's crucial to recognize that sound design in film often operates on a more subtle level, impacting our subconscious awareness. To truly appreciate this art form that emerged in the 20th century, we must cultivate an understanding of both film sound and spatial dynamics.

Questions 14-18

Choose the correct letter, A, B, C or D.

Write the correct letter in boxes 14-18 on your answer sheet.

14 In the first paragraph, the writer makes a point that

A the director should plan the sound track at an early stage in filming.

B it would be wrong to overlook the contribution of sound to the artistry of films.

C the music industry can have a beneficial influence on sound in film.

D it is important for those working on the sound in a film to have sole responsibility for it.

15 One reason that the writer refers to Humphrey Bogart is to exemplify

A the importance of the actor and the character appearing to have similar personalities.

B the audience’s wish that actors are visually appropriate for their roles.

C the value of the actor having had similar feelings to the character.

D the audience’s preference for dialogue to be as authentic as possible.

16 In the third paragraph, the writer suggests that

A  Audiences are likely to be critical of film dialogue that does not reflect their own experience.

B Film dialogue that appears to be dull may have a specific purpose.

C Filmmakers vary considerably in the skill with which they handle dialogue.

D The most successful films are those with dialogue of a high Quality.

17 What does the writer suggest about Bringing Up

A   The plot suffers from the filmmaker’s wish to focus on humorous dialogue.

B   The dialogue helps to make it one of the best comedy films ever produced.

C   There is a mismatch between the speed of the dialogue and the speed of actions.

D   The nature of the dialogue emphasises key elements of the film.

18 The writer refers to the ‘click’ of a door to make the point that realistic sounds

A are often used to give the audience a false impression of events in the film.

B may be interpreted in different ways by different members of the audience.

C may be modified in order to manipulate the audience’s response to the film.

D tends to be more significant in films presenting realistic situations.

Questions 19-23

Are the statements provided consistent with the information in Reading Passage 2?

In boxes 19-23 on your answer sheet, write

TRUE               if the statement agrees with the information

FALSE             if the statement contradicts the information

NOT GIVEN     if there is no information on this

19   Audiences are likely to be surprised if a film lacks background music.

20   Background music may anticipate a development in a film.

21   Background music has more effect on some people than on others.

22   Background music may help the audience to make certain connections within the film.

23   Audiences tend to be aware of how the background music is affecting them.

Questions 24-26

Fill in each sentence with the correct letter from the options below.

Write the correct letter, A-E, in boxes 24-26 on your answer sheet.

24 The audience’s response to different parts of a film can be controlled

25 The feelings and motivations of characters become clear

26 A character seems to be a real person rather than an actor

A     when the audience listens to the dialogue.

B if the film reflects the audience’s own concerns.

C     if voice, sound and music are combined appropriately.

D     when the director is aware of how the audience will respond.

E     when the actor’s appearance, voice and moves are consistent with each other.

Responses

14. B (Đoạn 1, “Though we might think of film as an essentially visual experience, we really cannot afford to underestimate the importance of film sound.” → thiếu âm nhạc phim sẽ không còn hay)

15. A (Đoạn 2, “Often with film characterization the audience perceives little or no difference between the character and the actor. Thus, for example, the actor Humphrey Bogart is the character Sam Spade; film personality and life personality seem to merge.” → diễn viên và vai diễn có những điểm tương đồng)

16. B (Đoạn 3, “ It is interesting to note that how dialogue … of little intrinsic interest.” → những lời thoại dở tệ cũng có mục đích riêng của nó)

17. D (Đoạn 4, “The comedy Bringing Up Baby, …, but also the absurdity of the film itself and thus its humor.” → highlight những chi tiết quan trọng của bộ phim)

18. C (Đoạn 5; Cả đoạn nói về việc âm thanh được sử dụng để thay đổi cách phản ứng của người xem đối với bộ phim

19. TRUE (Đoạn 7, “We are probably…ubiquitous as to be noticeable in its absence.” → Khán giả sẽ để ý được nếu như phim thiếu nhạc nền.)

20. TRUE (Đoạn 7, “In addition, background music often foreshadows a change in mood.” → nhạc phim có thể dự đoán diễn biến của phim

21. NOT GIVEN (Không có thông tin về việc nhạc nền ảnh hưởng đến người xem như thế nào)

22. TRUE (Đoạn 8, “Background music may aid …” → Nhạc nền giúp người xem liên kết hơn với phim)

23. FALSE (Đoạn 9, “The effects of sound are often largely subtle and often are noted by only our subconscious minds.” → hiệu ứng của nhạc rất tinh tế, người xem không dễ dàng nhận ra.)

24. C (Đoạn 1, “The entire sound track consists of three essential ingredients: … dialogue, synchronous and asynchronous sound effects, and music. →Những yếu tố được kết hợp với nhau sẽ gây ra hiệu ứng cho phim)