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Time and sound in cinema
Richtr, Jan ; KUDLÁČ, Jakub (advisor) ; REJHOLEC, Pavel (referee)
The theme of this diploma thesis is perception of time within the
audiovisual work. Particular attention is paid to the audio component of the
audiovisual work, from which perspective is seen the phenomenon of time. First
there is briefly introduced understanding of time evolved within the philosophical
context. The next part presents film as a medium that, from its formal nature,
brings new impetus that further develops the thinking of time. After this
introduction work focuses on the way of perceiving time within the sound itself,
respectively in music composition. It is based on the findings of psychoacoustics
and, above all, on the theoretical considerations of French composer Gérard
Grisey, to which is trying to find parallels in the context of the sound dramaturgy
of the film work. The last part deals with time relations arising from the
relationship between film image and sound. It is trying to question and then
generalize specific formal relationships within the audiovisual work, influencing
the subjective perception of time.
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Sound procedures inspired by Nuri Bilge Ceylan films
Chrudina, Matěj ; SKALL, Vladimír (advisor) ; KUDLÁČ, Jakub (referee)
In my final thesis I am going to focus on the sound and music dramaturgy of the Nuri Bilge Ceylans movies. I choose to write about his work because he can think about the movie as a whole and always pays attention to the sound design. Ceylan often experiments with diegetic music and motives he uses are sometimes very unusual compared with conventional cinematography. Another reason why his work inspired me for my final thesis is the fact, that my approach to film sound is in many ways similar to what he is doing. Therefore I can demonstrate my view on this topic using the specific expamples of his work. I am focusing on all the movies he had done between 1997 and 2014. I am going to pick the most exciting sound moments from each movie. I am also going to highlight some of the elements that constantly repeats through his filmography, thus defining his style. As a result of my work I want to point out the examples proving that the film soundtrack should not only be viewed as support for visual but as an equal part of the narrative conveying the information which can be heard but not viewed.
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SPECIFICS OF CREATING SOUND DESIGN OF ANIMATED FILM
Karhánková, Kateřina ; KUBÍČEK, Jiří (advisor) ; GREINER, Ladislav (referee)
The thesis explores the production of sound for animated film – its specifics as well as aspects of realization and of preparation and audio dramaturgy. It examines how they impact storytelling and the extent to which it is possible and useful to work with them from the very beginning of development of an animated film. The thesis also presents the practical and creative possibilities of cooperation between director and sound designer, alongside factors that may have a positive or negative influence in this regard. It draws on literary sources, interviews with the makers of animated films and knowledge acquired by the author in the field of directing and screenwriting of animated films. The thesis confirms the importance of the role of sound in animated film and its positive influence on the resulting quality of AV work (unless it has been omitted from the start of the filmmaking process). It summarizes the basic approaches that allow animators to work with sound in animated film as a fully-fledged narrative component.
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Interactive Sound Design
Oramus, Tomáš ; NEUBAUER, Petr (advisor) ; KOPECKÝ, Lubor (referee)
This paper analyzes the potentialities of interactive sound design - especially in computer games. It follows the bachelor thesis "Sound Design in Computer Games", which was aimed at the technical aspects of the process. The goal of this paper is to analyze new approaches and possibilities that come with interactive sound design, as well as the impact of these possibilities on viewers or players.
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Have you heard (of) it?
Lapčík, Radim ; KUDLÁČ, Jakub (advisor) ; BAGDASAROV, Georgy (referee)
The goal of this work is to popularize certain sound theory issues (e.g. storytelling, interactivity/immersion, sound/image perspective, semiotics). It deals with the basic sound/image and diegetic/extradiegetic relations, compiling the works of various sound theoreticians. Despite being focused on narrative film, it discusses specific features of four most common semi-narrative genres and gives a hint of sound/image relations in non-narrative and interactive audiovisual media.
Apart from the sound/image/diegesis relations, this work briefly explains the synchresis phenomenon and the meaning of tight or loose sound/image synchronicity for tampering with the perspective and perception of the filmic time and space.
The appendices contain some information concerning related themes – a short combinatorics column, a column explaining the three basic sound planes, the use of sound as a signifier and a longer quotation of Michel Chion’s article on rendered sound.
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Picture - Sound borders
Zavadil, Vojtěch ; ČENĚK, Jan (advisor) ; NEUBAUER, Petr (referee)
This thesis is about possibilities in sound production within audio-vision. Thanks to the experiment, in which five sound designers make five different soundtracks for the same film, there is a pursue to define restrictions for sound design, that comes from the picture itself, and ways, in which we can ifluence the resault just by sound. For this reason, each soundtrack is analyzed and compared.
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Contact microphones and their use in film practice
Bláha, Adam ; NEUBAUER, Petr (advisor) ; Titěra, David (referee)
The goal of this thesis is to introduce its reader to the problematics of various types of contact microphones in the field of film production. Rather than on technical specifications, it is focused on practical aspects of their use. It is dealing with specifics of handling such microphones, characteristics of the sounds recorded by them and with the possibilities of their use regarding the dramaturgy of films‘ soundtracks. Practical part of this work contains examples of these sounds as a demonstration of the claims, that I am introducing throughout this text.
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