Sound as a Meaning Maker in American Cinema

Mangó, Máté (2018) Sound as a Meaning Maker in American Cinema. BA/Bsc, Szegedi Tudományegyetem.

PDF 2018_Mangó_Máté_R4ZQ8G_SZ.pdf Hozzáférés joga: SZTE designated computers only Download (756kB)

Abstract

The aim of my thesis is the examination of sound as a filmic meaning maker in American cinema. In the first part of the thesis I briefly summarize the historical background of cinematic sound design and the methods of classical Hollywood. Relations between sonic and visual elements are also discussed with the addition of newer technologies, such as Dolby and digital surround sound. I explain the roles and types of filmic sound and music which are relevant to my chosen movies. These types include diegetic and extra-diegetic sounds; on- and off-screen sounds; while music is seen mainly as the tool responsible for the emotional responses of the audience. I chose two movies in particular which challenge the standard approaches to filmic sound design: David Lynch’s Eraserhead (1977) and Steven Spielberg’s Saving Private Ryan (1998). These choices were based on their unique relationships to filmic diegesis which is formed by the use of sound. Lynch uses unknown and heavily distorted sounds while the sources are carefully concealed in order to split reality both for his protagonist and the viewers. Spielberg, however, utilizes the surround sound system to engulf his viewers and to place them in the middle of the battle scenes. The ultimate goal of the paper is to prove and demonstrate the legitimacy of sound as a cinematic meaning maker.

Institution

Szegedi Tudományegyetem

Faculty

Faculty of Arts

Department

Amerikanisztika Tanszék

Discipline

Humanities

Specialization

amerikanisztika

Supervisor(s)

Item Type:	Thesis (BA/Bsc)
Subjects:	06. Humanities
Depositing User:	szerkesztő BTK
Date Deposited:	2019. Apr. 26. 06:47
Last Modified:	2019. Apr. 26. 11:49
URI:	https://diploma.bibl.u-szeged.hu/id/eprint/74391

Actions (login required)

View Item