TY  - CONF
  - Kulezic-Wilson, Danijela
  - Cinesonika 3
  - "Instruments of Torture: Composed Sound Design in Berberian Sound Studio"
  - University of Ulster Magee
  - Oral Presentation
  - 2013
  - ()
  - 0
  - 15-FEB-13
  - 17-FEB-13
  - Walter Murch once said that, unlike non-diegetic music which has to pass a certain “blood/brain barrier”, source music and sound effects have a much better chance of being perceived by audiences as organic elements of film because their narrative functionality, even when elaborately devised, is often accepted as a “lucky accident”. Made primarily in response to the consistently imposing and manipulative presence of non-diegetic music in the mainstream, Murch’s remark also resonates today in the context of the practice that replaces originally composed or compiled scores in favour of musique concrète employed as sound design. As suggested by “composed” soundscapes in the films of Gus Van Sant (Death Trilogy) and Peter Strickland (Katalin Varga), this type of soundtrack can successfully fulfil many of the roles in film previously ascribed only to music while managing to encourage the impression that the diegetic world is its sole source of origin. This method is particularly pertinent in the context of Strickland’s second feature, Berberian Sound Studio. Simultaneously a critique and an homage to Italian giallo films and their extraordinary soundtracks, Berberian Sound Studio is above all a tribute to the musicality and power of film sound, with one of the most imaginative soundtracks to appear in recent years. While the film humorously exposes the chasm between an onscreen illusion and the banalities and deceptions involved in its creation, Strickland nevertheless makes a deliberate effort to integrate all aspects of the film’s extraordinary sound design and its references to giallo soundtracks and Italian musical modernism of the 1960s and ’70s into the diegetic realm. This not only demarcates the main parameters of Strickland’s audio-visual aesthetics but also raises intriguing questions about the relationships between authorial intention and audience reception with regard to “composed” sound design and its influence on the process of mediation.
DA  - 2013/NaN
ER  - 

@unpublished{V198533855,
   = {Kulezic-Wilson,  Danijela },
   = {Cinesonika 3},
   = {{"Instruments of Torture: Composed Sound Design in Berberian Sound Studio"}},
   = {University of Ulster Magee},
   = {Oral Presentation},
   = {2013},
   = {()},
   = {0},
  month = {Feb},
   = {17-FEB-13},
   = {{Walter Murch once said that, unlike non-diegetic music which has to pass a certain “blood/brain barrier”, source music and sound effects have a much better chance of being perceived by audiences as organic elements of film because their narrative functionality, even when elaborately devised, is often accepted as a “lucky accident”. Made primarily in response to the consistently imposing and manipulative presence of non-diegetic music in the mainstream, Murch’s remark also resonates today in the context of the practice that replaces originally composed or compiled scores in favour of musique concrète employed as sound design. As suggested by “composed” soundscapes in the films of Gus Van Sant (Death Trilogy) and Peter Strickland (Katalin Varga), this type of soundtrack can successfully fulfil many of the roles in film previously ascribed only to music while managing to encourage the impression that the diegetic world is its sole source of origin. This method is particularly pertinent in the context of Strickland’s second feature, Berberian Sound Studio. Simultaneously a critique and an homage to Italian giallo films and their extraordinary soundtracks, Berberian Sound Studio is above all a tribute to the musicality and power of film sound, with one of the most imaginative soundtracks to appear in recent years. While the film humorously exposes the chasm between an onscreen illusion and the banalities and deceptions involved in its creation, Strickland nevertheless makes a deliberate effort to integrate all aspects of the film’s extraordinary sound design and its references to giallo soundtracks and Italian musical modernism of the 1960s and ’70s into the diegetic realm. This not only demarcates the main parameters of Strickland’s audio-visual aesthetics but also raises intriguing questions about the relationships between authorial intention and audience reception with regard to “composed” sound design and its influence on the process of mediation.}},
  source = {IRIS}
}