Akuzmatyczność filmowych efektów dźwiękowych. Medialna mistyfikacja foley w kontekście sound designu

Szymon Nożyński
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Abstract

Acousmaticity of Film Sound Effects: Media Mystification of Foley in the Context of Sound Design The text is about the foley profession, an important specialty performed as part of film sound design, at the post-production stage. What’s important here is both, the foley artist’s body, which becomes an instrument, and the ontology of created sounds, which are inserted into the finished film and synchronized with the picture. The author wonders if there is still a place for foley artists in the digital reality and common computerization of work. But the most important issue concerns the nature of sounds themselves, in the context of their production, acousmatics and the ubiquitous sound design. What is the sound implemented into the picture, does the picture give credence to the sound, even though the sound is “substituted” because it is produced in the studio? The situation is debatable, in the context of acousmatic listening (i.e. without the context of the source), because the picture provides a substitute context for the sound, and the viewer (listener) accepts this audio-visual relationship without reservation (as long as the sound is prepared well). Especially since by going to the cinema, the viewer agrees to a form of manipulation in the name of entertainment. Usually he or she is not aware of the mystification in the field of sound, which - within the oculocentric perception ‒ for him or her is only a complement to the picture, although, in fact, it plays a fundamental role in understanding what is happening on the screen. Other topics discussed in the text concern the communicativeness of sound and the historical background of the foley profession. Also important are the interrelations between foley and sound design and other areas of sound activity, as part of the preparation of all the audio layers of a film.
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本文是关于后期制作阶段的音效专业,这是电影声音设计的一个重要专业。这里重要的是,艺术家的身体,它成为了一种工具,以及创造声音的本体,它被插入到完成的电影中,并与画面同步。作者想知道,在数字现实和普遍的工作计算机化中,福利艺术家是否还有一席之地。但最重要的问题是声音本身的本质,在它们的制作、声学和无处不在的声音设计的背景下。声音在画面中的表现是怎样的?即使声音因为是在工作室中产生的而被“替代”了,画面是否也会相信声音?这种情况是有争议的,在声学聆听的背景下(即没有来源的背景),因为图像为声音提供了一个替代的背景,观众(听众)毫无保留地接受这种视听关系(只要声音准备得好)。特别是因为去电影院,观众同意以娱乐的名义进行某种形式的操纵。通常,他或她不会意识到声音领域的神秘性,在以视觉为中心的感知中,声音对他或她来说只是对画面的补充,尽管事实上,它在理解屏幕上发生的事情方面起着重要作用。本文讨论的其他主题涉及声音的传播性和福利职业的历史背景。同样重要的是音效设计和其他声音活动领域之间的相互关系,作为电影所有音频层准备的一部分。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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