FILM TV 2 Test 4 Q1

The soundtrack in this clip from Anna Browoski’s “Forbidden Lie$” features an array of diegetic and non diegetic sounds, the majority of which have been edited in post-production. In the first section of the clip – the karaoke video vignette – the basis of the soundtrack comes from the music track, which would have been recorded in a studio (specifically, the woman’s vocals and instrumental accompaniment). Other sounds have been created in a foley studio to mimic or heighten the sound of objects or events occurring on screen. The effect is an unrealistic, highly cartoon-like effect where the scenes shown appear clearly produced. This is due to the large amounts of reverb put on the sounds to give a larger resonance and presence. For example, when the lady walks away into the desert and her scarf flies in the wind, the sound of the wind is highly exaggerated and audible past the point of what you would be able to achieve from mere field recording. Other such sounds include bird noises when the couple are in the park and the repeated layering of the bird noises to represent the innocent, happy tone is reminiscent of a Disney movie. Another such instant is when the scarf flies from the back of the car and hits the ground – such a thing ordinarily wouldn’t make a sound at all, yet in the clip there is clear and audible foley of something being dropped. Additionally, ‘sound effects’ such as the whimsical harp – often heard in cartoons or other such exaggerated art forms – have been created using instrumental recordings and then post-production enhancement. In this case, the sound effect is created to match and facilitate the equally cheesy whirlpool transition that accompanies it and alert the viewer that they are entering or exiting a ‘dream sequence’ like state. Other sound effects serve to highlight this almost cartoon like style when the news reporter debunks the vignette – for example when the lady in black “dissolves” into sand after “this is not the truth” is said. The foley of a cash register when the cover of the book is held up again debunks or devalues the story as a scam and continues this unrealistic, cartoon-like style. The soundtrack when the newsreporter is introduced instantly reverts back to realistic documentary style – a voiceover narration and field recordings of her going about her daily activities. There are no sound effects (other then the same whimsical chimes every time the book is shown or mentioned or when Norma is shown reading the book and then ‘camera shutter’ sound that follows). Nor is there exaggerated or heightened foley additions or music tracks in accompaniment to create a stark opposition to the previous scene. In conclusion, the sounds (especially the sound-effects) used in this scene highlight exactly what the director wants you to believe as nonsense or fabrication by exaggerating the unrealistic.



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