Gustavo Costantini: Sound Design and Audiovision, Module 2 (recording, 7 hrs)

£50.00 Ex VAT

This series of talks introduces you to a deeper understanding of sound design focusing on the true importance of sound in cinema and how we develop strategies to work creatively with sound. The 3 sets of talks are designed to work together as a complete short course in film sound design. However, you may book each module individually.

The lectures start with a survey of the different approaches to film sound design leading to key topics and concepts: the influence of Michel Chion’s seminal book, Audiovision; different ways sound transforms the image; and how sound operates in the production of meaning.

The talks cover all genres, from classics by Lang, Hitchcock, Godard and Kubrick, to contemporary works by Lynch, Fincher, the Coen brothers, Nolan and Martel – and even The Simpsons and Breaking Bad – providing a wide perspective of what sound provides, and making the case for why studying sound design is so important for those working in media and the art

Module 2: Sound design for spaces and locations

* Diegetic and non-diegetic sound
How do we use sound to describe space, both physical and psychological? What does the audience hear and what do characters inside the film hear? The manipulation of diegetic and non-diegetic sound is a primary technique of sound design. Examples from films by David Fincher, the Coen Brothers and David Lynch.

* On-screen and off-screen
Next we pay attention to what is on-screen and what is off-screen. One of the strongest sound techniques for storytelling is off-screen sound. It includes voice-over, narration, music, ambient noises, elements of the film’s sound world, and other sound sources that ‘are not there’. Examples from films by Gonzalez Iñarritu, Woody Allen, Richard Loncraine, David Fincher, and others.

* Internal sounds
A further complexity of a film’s soundtrack concerns the ‘point of hearing’ or who is hearing the sound we are hearing. Where is this person situated? And are the sounds coming from the mind of the character objective or subjective? Examples from Breaking Bad, The Simpsons, Saving Private Ryan, Amadeus, Midnight Express, El aura, and others.

* Sounds of the ‘ether’
As we navigate through the soundtrack we come across another special category of sound – sounds of the ‘ether’. These include telephones, radios, transmissions and emissions, sounds that move between on- and off-screen, diegetic and non-diegetic. Special cases and treatments of these types of sounds will be demonstrated by examples from Zodiac, Blue Velvet, Gravity, American Graffiti, Thelma and Louise, and others.

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