Sound Conventions in Drama

  In previous postings I have analyzed genre conventions within drama, representation within genre, researched the experiences of the people to whom this story will focus on in this film opening, and analyzed film openings in drama to get a feel for what works and what doesn't. Now I want to focus on sound. Why is sound important? Sound establishes the tone of the scene to the audience without explicitly stating the tone right away. It doesn't give the audience the answer rather it's a small component, but major aspect, of film that makes the audience work for the meaning subconsciously. Through a Ted Talk by Andrew Stanton, The Clues to a Great Story, which we viewed in class he mentioned to hide the fact that you're audience is "working for their meal", meaning don't make it obvious that the audience is working out the solution in their head. That rather than giving them the answer in total, make them put two and two together. He quoted "drama is anticipation mingled with uncertainty." I believe sound is one of those important  factors that should follow this rule because of the fact that it establishes setting and tone, and if done correctly can give the audience a clue as to what is going on in the story or what might happen next.

What are some sound techniques that can enhance your films?

• Using sound bridges can help your story flow.
• Creating an atmosphere with music or sound effects appropriate to the ambiance of the scene.
• Emphasize actions with non-diegetic sound.
• Use audio cues or 'leitmotifs' to help tell the story.
• Build cinematic tension by gradually layering sound.

Spicer, Steven. “Sound Techniques to Enhance Your Films.” HitFilm Blog, fxhome.com/blog/sound-techniques-in-film/.

What are some sound conventions in drama?

  Diegetic sound is sounds that happen within the realm of the scene. For example if there is a door clicking in place after being closed and you can hear it within the scene, that is a sound happening inside the story- the characters are aware of it. This sound technique can help establish setting and sequence of events. An even more important sound technique specifically to the drama genre ( though it can be used for any genre) is non-diegetic sound. Non-diegetic sound is when the sounds used for a scene are NOT within the realm of the scene, meaning the characters are not aware of this music. This technique is typically used within this genre to establish the tone of the scene, what the audience is supposed to feel when viewing it. In this sense, non-diegetic  music is an especially  important component in the drama genre, as it is a genre that focuses on the human experience.This use of sound in film would be considered a convention to this genre. Some ways this technique may present itself within a drama piece would be incidental music, which isn't meant to be noticeable and adds tone to the scene and can aid the audience in connecting two scenes together and developing an idea of what the characters represent in the story, background music which can foreshadow an event or change in mood (for example: a slow, suspenseful crescendo of music to build up to a jump scare) parallel sound which is meant to match the content of the scene to enhance that part of the story (for example: a fight scene with enhanced noises of the fight as well as a fast paced music), and a sting which is a short stab of music used to enhance the drama of a situation within the film.

Examples of sound conventions used in drama productions

                                Jaws (1975) Steven Spielberg - Chrissie's Last Swim Scene

  This scene is the beginning of the film, and plays a key role in establishing the problem that is going to be taking place within the story. In the beginning, Chrissie is running towards the sea as she is taking off her clothes, a boy who is seemingly drunk is struggling to keep up with her and is running out of breath. The use of diegetic sound here are the waves of the ocean and the seagulls cawing in the background, and eventually the sound of Chrissie running into the ocean and the sounds the water makes as it moves while she swims further out. As the scene where we see her silhouette swimming from the perspective of being under the water, there's a slow zoom in with music that matches the pace. It's a slow crescendo of classical music that creates a suspenseful tone, insinuating that something bad is going to happen to her as she is the main focus of this shot and the camera gets closer to her body at the same pace as the music builds up. Then it shows her above the water as this music continues, and right when she notices something is wrong there is a sting utilized of a dramatic halt to this music, right before she begins getting attacked by the shark. As she is getting attacked the music is soft in the background but parallels the content of the scene in it's violent tone as her screaming and thrashing in the water drowns it out. Once the attack is over and it is clear that Chrissie is dead, there is a sudden deafening silence, the only thing to be heard now is the sound of waves. It starkly contrasts the beginning of the scene and the build up to the attack, and provides the context that she isn't alive anymore.

                                 Braveheart (1995) Mel Gibson - Freedom Speech Scene
  The two main techniques used throughout this scene are non-diegetic and diegetic sound. As the crowds of men watching William Wallace ride around on his horse rallying up the crowds as an army to revolt against the English British, non-diegetic music of traditional Scottish music plays. The characters within the scene are not aware of this music taking place, but it helps establish the culture of the scene, who these people are on this side of the revolution. The music fades into the crowd as rumors and questions spread which is all diegetic sound. As William begins to interact with the crowd, giving the speech that is iconic to this whole film, inspirational music picks back up, now there is a combination of both of these techniques. Due to the inspirational music and words to match, it makes it clear that this is a build up for an extremely important fight in the plot. The music here possibly the most important sound component of this scene, without it the audience wouldn't really feel the tone of it and know what emotion is meant to be evoked.

                                       Carol (2015) Todd Haynes - Ritz Tower Hotel Scene
  Most of the non-diegetic music takes place in the beginning of the scene. For the rest of it there is diegetic sound of the background conversation taking place in the dining room of the hotel, utensils being used, and it eventually fades into the background as Carol and Therese begin their conversation. This establishes the setting. However, as mentioned in the beginning the music is in the beginning, and this aspect may be the most important emotionally contextual part of this scene. This is the part where Carol prepares to meet up with Therese to tell her that she loves her. In the very beginning, Carol is placed in the right third of the frame where she is seen sitting in a booth of what appears to be a diner, writing a letter to Therese asking to meet her at the hotel that night. The music is a dramatic, hopeful but sad classical sound that helps the context of Carol's hopes for how she wants this meeting to go, but sad because when viewing the movie in full the audience knows what has happened (I don't want to give away too many spoilers here, this is one of my favorite films and I highly recommend watching!) When this music is paired with this blue lighting tinge, it really contributes to the overall tone. The same music and color scheme is used in the next part of the scene where Therese receives this letter, and it's understandable here that this is an important part of the overall plot, and the plot is meant to be an emotional one, and considering it is about two women who find themselves in love with each other in 1950s America, it's not going to be one with a happy ending for the two lovers.

How do I plan to utilize these conventions within my own production?

  As seen in these examples and notes on conventions, there is a heavy emphasis and importance on conveying the tone of the scene through sound in drama, rather than establishing what is literally and outwardly happening explicitly through diegetic sound. Music being a big part of one of these components (typically used non-diegetically) that when paired with the actions of the characters makes a powerful impact on how the audience perceives the scene and understands the tone of it. I plan to use music within my film opening paired with intimate shots of the main character alongside the opening credits to make it understood right from the beginning that this story is an important one.