As long as audiovisual synchronicity is preserved, we (the audience) accept quite absurd sounds as realistic depictions of a fictitious world. Thus, in George Miller's MAD MAX: FURY ROAD sounds, voices, even music appear to be organically anchored within the visual world we see, when in fact they were created as far away from the images as the initial car engine sound compared to the Warner Bros. It was originally written and edited in February 2016, shortly before the crew of MAD MAX: FURY ROAD received their well-deserved Academy Awards for best achievements in "Sound", "Editing" and "Sound Editing" among others.Ĭreation of a Sound World The illusory effect of modern blockbusters is often rather based on a close sound-image relationship than on realism of content. Since voice-over narration would have obscured the very object of sound analyses, the video essay is broken down into three segments that are each preceded by written text. My following soundtrack analysis including the three clips was first published in the Swiss film magazine filmbulletinin German.
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