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G. Heldt, T. Krohn, P. Moormann, and W. Strank, Eds, Sound Design, 1. Munich: et+k edition text + kritik, 2023.
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Special volume "Sound design" published by et+k edition text+kritik
This volume "Sound Design" is dedicated to the topic of sound and noise in film from a musicology and media studies perspective and focuses on the interfaces and overlaps between the sound levels. The focus is on the narrative and aesthetic possibilities of controlling, interlocking and blurring the boundaries between sounds, music and language in film.
Just as art music, in the course of its development, sought a liaison with the supposedly opposite - the non-musical noise - sounds were linked in new ways with dialog and music as the other two levels of the soundtrack. Using the example of sound in silent films, musicalized noise in animated films, the interface between music and sound and meta-storytelling through sound, the four contributions in this volume examine where film music begins and sound design ends. Or is such a demarcation long outdated?
The article entitled Meta-storytelling and subtexts through intelligent sound design in film by Prof. J.U. Lensing begins with an audio-visual analysis of an exposition of an episode (S06, E06) from the Netflix series "Better call Saul", as an exemplary example of how music, sound design and dialogues are also handled in an exemplary manner in US quality TV today. Even though almost all sound design publications in this country always sing the praises of the much better financed sound design from the USA, German films in particular, especially since the 1980s, have nothing to hide in this respect. For this reason, a total of nine German-language films are discussed audio-visually in this article (primarily the expositions): M - eine Stadt sucht einen Mörder, Der Himmel über Berlin, Schlafes Bruder, Drei, Das weiße Band, Zeit der Kannibalen, Der Mann aus dem Eis, Taste of Cement and Systemsprenger. Of course, these reviews not only honor the names of the directors, but also and above all those of the sound creatives involved, i.e. the sound designers and composers.
With contributions from Julia Heimerdinger, Saskia Jaszoltowski, Jörg Lensing and Claus Tieber.
Keywords
Sound design
Film music