Analyis/ Reflection 2 – “Sound Design”

Clown Train – Sound Design

The sound design used in the film Clown Train creates an eerie, somewhat disturbing feeling whilst developing anticipation over the sequence of shots. The use of diegetic sounds such as a train drawing to an end as well as sounds associated to mechanical failure draw attention to the characters’ presence inside the train. The camera work also contributes to reiterating the space of the train by filming from the outside of the train and looking in on the characters. The sound is also altered to appear as though you are looking into the train when the camera is outside of the train. Additionally, an electric zapping sound is used to build anticipation as well as division between shots – where the clown repositions himself closer to the other character when the zapping sound occurs and the train lights falter. The zapping sound forms a motif throughout the shot sequence and the viewer expects for the clown to move in on the other character whenever the sound strikes.

 Screen Shot 2014-03-25 at 11.10.42 AM

Image taken from

The Ring also enhances sounds within its filmic space to build anticipation and an element of fear. A scene comes to mind where a character is in his warehouse apartment and nothing particularly out of the ordinary is happening – however the soundscape draws attention to his presence within the apartment and creates anticipation within the scene through enhancing focal and field sounds.


Below is an excerpt from The Ring from a notably ‘chilling’ scene that has been edited to have no sound. I find that watching the excerpt without sound looses the sequence’s intensity and it becomes evident how important sound is in creating anticipation and an awareness of fear.

This also relates back to what Alten suggests in his paper, ‘Creating the Sound Design’ when he tells that sound in film can have the ability to “Affect aural perception” (6).


Rolling, Student Film – Analysis

The student film, Rolling seemed to work well within the limitations of the constrained task. The film used a simple yet effective plot with appropriate casting that carried the film’s narrative. The film had a good selection of locations that was feasible for the production of the project. Another aspect that I found worked well was that the dialog was minimal and many things were conveyed through acting or camera work. Having watched the short film a few weeks ago now, my memory isn’t too sharp on the specifics; however, I remember thinking some of the camera angles weren’t consistent e.g. the space above the character’s heads differed. All in all, I think the short film was entertaining, well rounded and that the students worked well within the set perimeters.


Creating the Sound – Reading Reflection

Creating the sound design. In Alten, S. Audio in media, (p.266-286). Belmont: Wadsworth, 1994.

Alten’s article titled, ‘Creating the Sound Design’, informs how sound can assist in conveying the narrative by preloading what is to come (7). In the article, Alten speaks of how countless aspects of sound recording can have implications on the narrative. Additionally, Alten speaks of how the sound producer may design the sound in various mediums to convey a number of feelings. Alten also highlights the extensive detail and consideration sound designer emplace to convey meaning.


Analysis/ Refelction 1 “What you want”

Whilst undertaking Film-TV 1, I hope to gain various Film and TV production skills at least at an entry-level professional standard. I envision that the multilayered elements within the course will allow me to develop abilities in creating and implementing a story idea, professional scriptwriting, producing media at a high-quality standard as well as the post production elements of editing and analysis of the media I create. Additionally, I perceive that the various production aspects of the course will come full circle, which could include composing a professional script to assuring script continuity in the editing process. Along with the production and postproduction elements of the course, I anticipate that I will practice problem solving along with reflecting upon my own practices. I would also like to become fluent and articulate with the structures and conventions of the media practices presented in this course.


Kid's Auto Races

Image sourced from

Screenwriting Lecture

Jasmine put forward an interesting point during her lecture on screenwriting. Jasmine spoke of the advantages of brevity versus verbosity. Some key points I took from the lecture were that the audience does not want to be told what they can already see on screen, brevity should have prevalence over verbosity as well as characters should be able to act out what they are feeling or thinking instead of saying it – e.g. snort instead of saying “I’m angry”. I found what jasmine expressed on the subject encouraged me to consider the ways that I can help convey a narrative other than direct dialog when considering the process of screenwriting.


Reading Reflection

Millard’s paper, titled ‘Writing for the Screen: Beyond the Gospel of Story’ provides insight into what it is like to professionally write for the screen. Interestingly, Millard draws on historical screenwriting practices, telling of some of the first and still highly enticing films that were made including Chaplin’s ‘Kids Auto Racing At Venice’. Millard’s paper resonated as she historically traces the essence of storytelling along with the absurdity of self-help ‘education’ and seminars. Ultimately, it made me consider traditional methods of capturing a story for the screen as well as lengths some screenwriters may go to achieve the utopian story.

On another note, I found it pretty astonishing that some smuck Chicago based producers tried to purchase all of the world’s stories in the early 1900’s – from biblical texts to Aesop’s Fables for a measly million dollars. Seriously? Wow.