Though we might think of film as an essentially visual experience, we really cannot afford to underestimate the importance of film sound. A meaningful sound track is often as complicated as the image on the screen, and is ultimately just as much the responsibility of the director. The entire sound track consists of three essential ingredients: the human voice, sound effects and music. These three tracks must be mixed and balanced so as to produce the necessary emphases which in turn create desired effects. Topics which essentially refer to the three previously mentioned tracks are discussed below. They include dialogue, synchronous and asynchronous sound effects, and music.
Let us start with dialogue. As is the case with stage drama, dialogue serves to tell the story and expresses feelings and motivations of characters as well. Often with film characterization the audience perceives little or no difference between the character and the actor. Thus, for example, the actor Humphrey Bogart is the character Sam Spade; film personality and life personality seem to merge. Perhaps this is because the very texture of a performer’s voice supplies an element of character.
When voice textures fit the performer’s physiognomy and gestures, a whole and very realistic persona emerges. The viewer sees not an actor working at his craft, but another human being struggling with life. It is interesting to note that how dialogue is used and the very amount of dialogue used varies widely among films. For example, in the highly successful science-fiction film 2001, little dialogue was evident, and most of it was banal and of little intrinsic interest. In this way the film-maker was able to portray what Thomas Sobochack and Vivian Sobochack call, in An Introduction to Film, the ‘inadequacy of human responses when compared with the magnificent technology created by man and the visual beauties of the universe’.
The comedy Bringing Up Baby, on the other hand, presents practically non-stop dialogue delivered at breakneck speed. This use of dialogue underscores not only the dizzy quality of the character played by Katherine Hepburn, but also the absurdity of the film itself and thus its humor. The audience is bounced from gag to gag and conversation to conversation; there is no time for audience reflection. The audience is caught up in a whirlwind of activity in simply managing to follow the plot. This film presents pure escapism – largely due to its frenetic dialogue.
Synchronous sound effects are those sounds which are synchronized or matched with what is viewed. For example, if the film portrays a character playing the piano, the sounds of the piano are projected. Synchronous sounds contribute to the realism of film and also help to create a particular atmosphere. For example, the ‘click’ of a door being opened may simply serve to convince the audience that the image portrayed is real, and the audience may only subconsciously note the expected sound. However, if the ‘click’ of an opening door is part of an ominous action such as a burglary, the sound mixer may call attention to the ‘click’ with an increase in volume; this helps to engage the audience in a moment of suspense.
Asynchronous sound effects, on the other hand, are not matched with a visible source of the sound on screen. Such sounds are included so as to provide an appropriate emotional nuance, and they may also add to the realism of the film. For example, a film-maker might opt to include the background sound of an ambulance’s siren while the foreground sound and image portrays an arguing couple. The asynchronous ambulance siren underscores the psychic injury incurred in the argument; at the same time the noise of the siren adds to the realism of the film by acknowledging the film’s city setting.
We are probably all familiar with background music in films, which has become so ubiquitous as to be noticeable in its absence. We are aware that it is used to add emotion and rhythm. Usually not meant to be noticeable, it often provides a tone or an emotional attitude toward the story and /or the characters depicted. In addition, background music often foreshadows a change in mood. For example, dissonant music may be used in film to indicate an approaching (but not yet visible) menace or disaster.
Background music may aid viewer understanding by linking scenes. For example, a particular musical theme associated with an individual character or situation may be repeated at various points in a film in order to remind the audience of salient motifs or ideas.
Film sound comprises conventions and innovations. We have come to expect an acceleration of music during car chases and creaky doors in horror films. Yet, it is important to note as well that sound is often brilliantly conceived. The effects of sound are often largely subtle and often are noted by only our subconscious minds. We need to foster an awareness of film sound as well as film space so as to truly appreciate an art form that sprang to life during the twentieth century – the modern film.
Nguồn: Cambridge IELTS 11
GIẢI THÍCH
| Đáp Án | Trích Dẫn | Giải Thích |
|---|---|---|
| 1. it would be wrong to overlook the contribution of sound to the artistry of films. | Đoạn 1: “Though we might think of film as an essentially visual experience, we really cannot afford to underestimate the importance of film sound.“ | Câu mở đầu trực tiếp nêu lên luận điểm chính: chúng ta không được đánh giá thấp (cannot afford to underestimate) tầm quan trọng của âm thanh trong nghệ thuật điện ảnh. Điều này đồng nghĩa với việc sẽ là sai lầm nếu bỏ qua (it would be wrong to overlook) đóng góp của nó. |
| 2. the importance of the actor and the character appearing to have similar personalities. | Đoạn 2: “Often with film characterization the audience perceives little or no difference between the character and the actor. Thus, for example, the actor Humphrey Bogart is the character Sam Spade; film personality and life personality seem to merge.“ | Ví dụ về Humphrey Bogart được đưa ra để minh họa cho hiện tượng khán giả không nhận thấy sự khác biệt giữa diễn viên và nhân vật, và rằng tính cách trên phim và ngoài đời dường như hòa làm một (merge). Điều này nhấn mạnh tầm quan trọng của việc chúng có vẻ giống nhau (appearing to have similar personalities). |
| 3. film dialogue that appears to be dull may have a specific purpose. | Đoạn 3: “…in the highly successful science-fiction film 2001, little dialogue was evident, and most of it was banal and of little intrinsic interest. In this way the film-maker was able to portray… the ‘inadequacy of human responses…” | Tác giả gợi ý rằng đoạn hội thoại trong phim 2001 có vẻ tầm thường (banal) và không thú vị (of little intrinsic interest) là có chủ đích. Cách sử dụng này giúp nhà làm phim khắc họa (portray) một mục đích cụ thể: sự không tương xứng của phản ứng con người. |
| 4. The nature of the dialogue emphasises key elements of the film. | Đoạn 4: “This use of dialogue underscores not only the dizzy quality of the character… but also the absurdity of the film itself and thus its humor.“ | Từ “underscores” (nhấn mạnh) đồng nghĩa với “emphasises”. Tác giả chỉ ra rằng bản chất của đoạn hội thoại trong Bringing Up Baby (nhanh, không ngừng nghỉ) đã nhấn mạnh các yếu tố then chốt của bộ phim: tính chất chóng mặt của nhân vật và sự phi lý/hài hước của toàn bộ phim. |
| 5. may be modified in order to manipulate the audience’s response to the film. | Đoạn 5: “However, if the ‘click’ of an opening door is part of an ominous action such as a burglary, the sound mixer may call attention to the ‘click’ with an increase in volume; this helps to engage the audience in a moment of suspense.“ | Ví dụ về tiếng “click” cho thấy âm thanh thực tế có thể được sửa đổi (modified – bằng cách tăng âm lượng) để điều khiển (manipulate) phản ứng của khán giả (khiến họ hồi hộp). |
| 6. TRUE | Đoạn 7: “We are probably all familiar with background music in films, which has become so ubiquitous as to be noticeable in its absence.“ | Cụm “noticeable in its absence” (sẽ được chú ý khi nó vắng mặt) có nghĩa là khán giả rất có thể sẽ ngạc nhiên (likely to be surprised) nếu một bộ phim thiếu nhạc nền. |
| 7. TRUE | Đoạn 7: “In addition, background music often foreshadows a change in mood.“ | Từ “foreshadows” (báo trước) đồng nghĩa với “anticipate” (dự đoán trước, lường trước). Nhạc nền thường báo trước một sự phát triển (thay đổi tâm trạng) trong phim. |
| 8. NOT GIVEN | (Không có thông tin) | Bài đọc không đề cập hay so sánh việc nhạc nền có ảnh hưởng nhiều hơn lên một số người này so với một số người khác hay không. |
| 9. TRUE | Đoạn 8: “Background music may aid viewer understanding by linking scenes. For example, a particular musical theme associated with an individual character or situation may be repeated… in order to remind the audience of salient motifs or ideas.“ | Việc liên kết các cảnh và nhắc lại chủ đề âm nhạc giúp khán giả tạo ra các kết nối (make certain connections) giữa các nhân vật, tình huống hoặc ý tưởng trong phim. |
| 10. FALSE | Đoạn 9: “The effects of sound are often largely subtle and often are noted by only our subconscious minds.“ | Tác giả khẳng định hiệu ứng của âm thanh thường rất tinh tế và thường chỉ được ghi nhận bởi tiềm thức (subconscious minds) của chúng ta. Điều này có nghĩa là khán giả có xu hướng không nhận thức được (tend not to be aware) một cách đầy đủ về cách nhạc nền ảnh hưởng đến họ. |
| 11. C | Đoạn 1: “These three tracks [voice, sound effects, music] must be mixed and balanced so as to produce the necessary emphases which in turn create desired effects.“ | Việc pha trộn và cân bằng (mixed and balanced) ba yếu tố giọng nói, hiệu ứng âm thanh và nhạc một cách phù hợp (appropriately) sẽ tạo ra các hiệu ứng mong muốn, từ đó kiểm soát (controlled) phản ứng của khán giả với các phần khác nhau của phim. |
| 12. A | Đoạn 2: “As is the case with stage drama, dialogue serves to tell the story and expresses feelings and motivations of characters as well.” | Cảm xúc và động cơ của nhân vật trở nên rõ ràng (become clear) thông qua việc khán giả lắng nghe (listens to) đoạn hội thoại. |
| 13. E | Đoạn 2: “When voice textures fit the performer’s physiognomy and gestures, a whole and very realistic persona emerges. The viewer sees not an actor working at his craft, but another human being…” | Một nhân vật có vẻ là người thật khi (when) chất giọng (voice), ngoại hình (physiognomy/appearance) và cử chỉ (gestures/moves) của diễn viên phù hợp với nhau (are consistent with each other). |
