UDC 791.634:778.534.4](045)
Oksana But
«KROK» University of Economics and Law, Kyiv.
ORCID ID 0000-0003-2402-9433
DOI: https://doi.org/10.37627/2311-9489-27-2025-1.158-170
Keywords: sound effects, Foley, sound design, recurrent noise, Foley artist, Foley editor, sound-visual imagery.
Abstract.
The article examines sound effects, recurrent noise, Foley (in post-production filmmaking), repetitive noises as leitmotifs (riff, pattern), their functional and synchronous involvement in the sound-noise picture in terms of effectiveness and reliability, participation in dramatic development, technological and traditional forms in the historical and aesthetic context of sound design.
The purpose of the article is to investigate sound effects, synchronous noises, Foley, repetitive noises (similar to pattern, loops and riff in music), their functional-montage and synchronous-organic involvement in the sound-noise score from the point of view of effectiveness and authenticity, participation in dramaturgical development, terminological, technological and traditional forms in the historical and aesthetic context of artistic activity. A new look at terminology and creativity as a process and a certain mechanism with internal logic, which can be researched, analysed and proposed as a vector of its development in three directions.
Using induction, content analysis, and analysis of the empirical experience of predecessors and their own and existing scientific sources, the current situation around the research topic is created, and using comparison, analogy, and abstraction, modern trends are combined to systematize, generalize, and predict their successful use.
Sound effects and leitmotifs (riff, pattern) are closely related to imagery and dramaturgy, and also represent a certain evolutionary element, to which the attitude in the past and in modern film is completely different. In the article, I highlighted the musical composition of sound effects, collected the main tasks of Foley based on interviews with masters of this direction of sound design, analysed the phenomenon of the numerous use of some sound effects in films, the path to successfully creating original and authentic (realistic) sound effects, and their use as repetitive noises. I applied the three previously formulated methods of creating imagery as vectors of development: subtractive, additive and integrative. Particular attention was paid to the mechanisms of creating symbolic images and combining elements into a system. A practical view is presented on the understanding of genre-stylistic and cultural features, the direction of development of cinematography in general and sound in particular towards synthesis with new artistic media and interactivity with the viewer, the psychophysiological aspect of the synthesis of audio-visual imagery and the division of sound components into primary and background sound.
Author’s Biography.
Oksana But, Ph.D. in Art History, «KROK» University of Economics and Law, Kyiv.
References:
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But, O. V. (2019). Istoria uspihu kinomuzyki jak komponenta obraznoji struktury suchasnogo filmu [History of success of cinema music as a component of imagery structure of modern film]. Naukovyj visnyk KNU teatru, kino i telebaczennia im. I. K. Karpenka-Karogo. Issue 25. Kyiv. P.122–126. DOI: https://doi.org/10.34026/1997-4264.25.2019.188338 (іn Ukrainian)
But, O. V. (2021). Zvukove seredovyche (tlo) yak hudogniy zasib vyraznosti suchasnogo ekrannogo tvoru [Sound environment (background) as an artistic means of expression of modern screen artwork]. Naukovyj visnyk KNU teatru, kino i telebaczennia im. I. K. Karpenka-Karogo. Issue 27/28. Kyiv. P.122–130. DOI: https://doi.org/10.34026/1997-4264.27-28.2021.238835 (іn Ukrainian)
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Published:
Section: APPLIED CULTURAL STUDIES AND CULTURAL PRACTICES.