Horror sound research

Traditionally in horror films the sound is very eerie, dark and erratic. Sometimes the sound starts very slowly and will build and rise up at the pinnacle moment of the scene; this creates tension and scares the audience to a greater extent. Diegetic sound can be used to create an atmosphere around a scene, for example trees rustling, wind or rain. By having diegetic sound- or non-diegetic sound which is natural creates a sense of realism, and can also been seen as creepy in the horror genre.


In the YouTube video, it shows example of horror sounds. These are mostly non-diegetic, for example the piercing, rising sounds, however some could be diegetic like the screams. I will be using non-diegetic sounds from garage band when I create my sound for my opening sequence. Due to the theme and nature of my opening sequence, I will be using mostly non-diegetic sound, for example the scream and wind. Some of the sound though was recorded at the time of filming, for example the axe chopping and the fire burning and crackling.





In the YouTube video above, it shows the example of Nightmare on Elm Street. The sound in this opening is very effective as it slowly builds up. It begins with slow mid tones which are intercut with dark, menacing drums. It continues with eerie, yet harmonious non-diegetic sound which is heightened mid-way through the extract as it becoming repetitive and gradually louder. The extract hits a peak with scary, dark and dangerous sounds as the sound gradually gets louder and louder. From a visual aspect, this would be where the pinnacle moment would have been. This extract creates tension and builds upon sounds to create the tense atmosphere.

I aim to create the same amount of intensity in my opening sequence as it begins light and friendly, but gradually gets darker and more suspicious.

Harry Potter sound exercise and evaluation

Evaluation: 

In the opening credit sequence I used sound that was mystical and mysterious, which drew parallel to the dark, misty credit image. This gives a sense of foreboding and a feel of fear, as it is a deep repetitive sound. It then moves on to become more intense and quicker paced as the image goes through the Warner Bros logo, taking the audience into the next part of the sequence. Following this I added ominous yet harmonious sound with an orchestral feel, as the image is dark with mist adding to the sense of mystery. It is also synonymous with death and foreboding due to the sound of the dark violins. However, amongst the dark and mysterious sound, when the image moves through the ‘Harry Potter’ titles I changed the tone of the music to more light and hopeful which parallels the image as the mist and dark begins to fade into light. I did this to show that within the film there are both good and evil aspects.

In the playground sequence I used sound, which was more uplifting and rolling to signify the transition from dark and evil to light and good. Similarly this parallels the image as it is bright and clear; the sun is shining and the sky is blue, which usually denotes a happy scene. However, as the sequence progresses we see Harry’s shadow and him looking towards a family. His shadow represents his reflection in a mental and physical sense. The family signifies his reflection on what could have been if his parents weren’t dead. For this part of the sequence I used sound, which is stirring in order for the audience to empathise with Harry.

(Sound is then cut but continues when Harry challenges Dudley physically as sound for sequence is incomplete (2:14)).

As Harry challenges Dudley I used sound that was ominous to draw parallel to the feeling of evil and foreboding in the opening credit sequence.  Similarly I used sound to parallel the images on scene, for example thunder when the light in the sky closed up, and wind when paper and litter swirls around the characters.

(Sound is then cut, as sequence is incomplete (2:41)).

In the Dementor sequence when Harry and Dudley are running away I would have used a dark rhythmic sound to emulate their pace. As the action moves from them to the scenery I would add menacing sounds of thunder, rain and howling in a discordant way to enhance the sense of danger. As the sequence returns to the characters in the underpass, I would add tremulous and eerie sounds to depict how they’re out of the exposed danger of the field, however in the unknown of the underpass. As the lights flicker in the sequence I would use realistic sound of lights flickering to create realism to the scene. As the characters attention is distracted from the lights, I would add sound again which is pacier to heighten the tension of the scene before you can see the source of the danger.  As the source of danger becomes apparent I would use piercing sound, which cuts through and takes over the character, scene and audience. As the scene then cuts to Dudley and his escape I would use pacy menacing sound to clearly show the urgency and danger. When the Dementors are focused on one character, all other sound would stop and only the piercing noise would be heard to reinforce the evil, urgency and danger.

Overall, for the whole sequence I am pleased with the sound and I feel it shows the clear difference between good and evil. I feel the use of realistic sounds like the thunder and wind adds a sense of realism to the sequence, which is effective as the audience can relate and feel apart of the film world. From this task I have learnt that by matching the types of sound with the action of screen it creates a seamless sequence. Following this, if the sound matches perfectly it makes the sequence feels like one, as oppose to two separate entities, that being the sound and the visual. Furthermore it makes the audience feel like even though the sound is not part of the film world, that it actually is as it fits so perfectly. In my opening sequence I aim to recreate something similar, obviously fitting to the genre, but using the same method of integrating the music perfectly with the visual on screen, creating a seamless sequence.

Max Payne Sound Clip Analysis

Shot number	Technical sound description		Effects on meaning/sound
1.	Off-screen non-diegetic sound (20th Century Fox theme song)		This is the company motif. It has an uplifting, royal feeling.
2.	Off-screen non-diegetic sound (wind/talking)		-Voice in silence is mysterious and ominous. -Wing is eerie in the darkness and invites the audience to picture the scene.
3.	On-screen diegetic sound (gasping/water)		-The sound and the image come together creating the scene, giving an alarming feel and an urgency as he struggles.
4.	On-screen diegetic sound (water)		-Water splashing gives an effect of urgency, panic and fear.
5.	On-screen diegetic sound (splashing/water/coughing)		- Increasing panic-making scene tense. -The character is not speaking during this, as it is clear he is struggling for his life. This adds to the sense of urgency and possibly suggests there is no one to help so no point shouting.
6.	On-screen diegetic sound (water/bubbles)		-  As coughing/splashing has stopped it creates a fearful atmosphere that he is just sinking, dying.
7.	Sound bridge (water) on-diegetic off-screen sound (voice)		- Tone of voice is ominous, possibly foreboding danger. It is also a contract to the previous scene of silence.
8.	Off-screen sound (baby crying)		-Babies cry is scary due to context of previous scene and it may signify there is something wrong. Similarly this cause of wrong may link to the man, hence why he is in the perilous situation in the water.
9.	On-screen diegetic sound (voice)		-Voice in silence is mysterious and ominous.
10.	On-screen non-diegetic sound (voice) on screen sound (bubbles/water)		-Voice is drawing you in to listen more, as we know more about the background to the characters story (the baby).
11.	Off-screen sound (clock)		-Mysterious and moving you onto the next scene/part of the story.
12.	Sound bridge (clock) off screen sound (wind-chimes)		-Wind chimes are suppose to signify taking bad dreams away, but this appears to be the opposite so it is ironic. Similarly they’re clearing in a baby’s room, and it may be showing a nightmare, which relates and centres on the baby. This nightmare replays on him and this is shown through the continual none-stopping sounds playing over and over. The use of wind chimes is effective because it is in contrast to how they’re supposed to be viewed. They’re supposed  to be good but here they show evil and creepiness.
13.	Sound bridge (wind-chimes/ clock)		-A dead women lying in the room reveal irony of the wind chimes. The baby continues to cry, as it needs its mother.
14.	Sound bridge (wind-chimes/ clock) off-screen sound (thunder/rain/voice)		-Clock significant as it shows him moving on or a time he is replying in his mind. Wind chimes are usually soothing but in this context they’re creepy, paralleling the images. This is heightened by the bad weather, which could signify bad spirits/omen/karma.
15.	Sound bridge (voice- off screen) Off screen sound (siren)		-Sirens confirm something bad has happened as you only get them in a tragedy or emergency. It either foreshadows something bad about him or the women/baby. This also contrasts the previous scene as it is completely separate and a week earlier.
16.		Sound bridge (siren- off screen) off-screen sound (talking)	-Sirens/image of scene saying ‘one week earlier’ show this has happened previously and he is recalling it in the past scenes. The film from then on will unravel the mystery of the water scene, the dead women and the baby.

Overview of sound:

Sound is ominous and mysterious which fits every scene, as what we see is eerie, and creepy yet unexplained. For example, why is there a dead woman? Why is the baby crying? Each more scenes, which unravels and is unexplained adds to the mystery and fits with the sound. From this I have learned that by using sound bridges and introducing sound before the scene has become visual adds suspense and tension to a scene. This can be more effective sometimes, as oppose to using different shots that slowly reveal something, in particular in horror films as it makes the audience focus on the sound first making them question what they are hearing. If I were to choose to create a horror opening sequence, this technique would be very useful and could be used when editing sound.

Jaws Sound Clip Analysis

Shot number	Technical sound description	Effects on meaning/sound
1.	-Off-screen non-diegetic sound (electric terrestrial/ wind)	The off-screen non-diegetic sound is electrical and terrestrial giving it an eerie and mystical feeling. This sets the premise for the film.
2.	-Sound- bridge (electric terrestrial/wind) -Off-screen non-diegetic sound (dur-dur)	The ‘dur-dur’ is the motif of the film. It is eerie and dark with a mysterious and serious edge. It invites the audience to the tone of the film and to consider why.
3.	-Sound bridge off- screen non-diegetic sound (dur-dur) -Off- screen non-diegetic sound (bubbles)	The ‘dur-dur’ sound begins to increase in pace and becomes insistent which creates a sense of urgency to know to cause for the dark music.
4.	-Sound bridge off- screen non-diegetic sound (dur-dur) -Off- screen non-diegetic sound (horns/ orchestral)	As the actual film image appears on screen the ‘dur-dur’ becomes even more intense and ominous. The image on screen is underwater suggesting that the cause is possibly a sea creature, however due to the eerie mystical music in the credit sequence, the cause may be terrestrial. Following this there are soaring horns, which adds to the intensity of the sequence.
5.	-On-screen diegetic sound (Harmonica) -Off- screen diegetic sound (waves) -On screen diegetic sound (group talking and laughing) -On-screen diegetic sound (fire crackling) -On-screen diegetic sound (Guitar)	This sense is in strong contrast to the sound from the previous scene as it is more relaxed and mellow, however the previous scene was scary and intense. This may foreshadow dark events happening in the most unexpected times. The use of the harmonica and guitar create a sense of relaxation, which parallels the image on screen, whereby people are sat around a fire causally talking and laughing.
6.	-Sound bridge (background sound of harmonica/ talking/ waves) -On-screen diegetic sound (talking of two characters	The scene then focuses on two characters talking, which immediately shows they’re the main characters of features to this part of the film.  This effect of singling these characters out allows the audience to think about the previous dark sound and connect that they may be the cause of it. This is heightened by the fact the characters leave the group and are also both drunk.
7.	-Sound bridge (two characters talking) -On-screen diegetic sound (waves) -On- screen diegetic sound (splashing)	As the female character goes into the sea there is splashing giving the film a realistic edge. This also heightens the idea that they will be the centres of the danger as the initial dark noise came from within the sea.
8.	-Sound bridge (waves/ splashing) -On- screen diegetic sound (male character talking) -On- screen diegetic sound (bubbles/ gasping)	As the female character is in the water there are more realistic sounds of splashing and bubbles, which adds to the realism of the film.
9.	-Off-screen non-diegetic sound (orchestral/ dur-dur) -On- screen diegetic sound (splashing)	As soon as the ‘dur-dur’ noise begins this invites the audience to feel scared and they know that it is or a dark theme. It may also confirm that danger is looming and that it forebodes evil and suffering. This dark noise is contrapuntal and the scene is light and happy for the characters as all they are doing is swimming. However due to the motif the audience knows danger will follow due to the tone of the music.
10.	-Off- screen non-diegetic sound (dur-dur) -Off- screen non-diegetic sound (orchestral)	The ‘dur-dur’ noise begins to heighten which creates a sense of urgency and danger.
11.	-On- screen diegetic sound (splashing/gasping)	The characters splashing and gasping confirms the danger as she is dragged under water. This allows the audience to empathise with her character as she is merely harmlessly swimming.
12.	-Sound bridge (splashing/gasping) -On- screen diegetic sound (screaming)	The characters screaming brings a sense of extreme urgency which, in effect makes the audience react by wanting to help, or thinking why isn’t the male character helping. This gets the audience involved and engaged in the film, as it is nature instinct to help someone screaming in pain.
13.	-Sound bridge (splashing/screaming) -Off- screen non-diegetic sound (orchestral)	The scene continues with orchestral music to intensify the action happening on screen.
14.	-On- screen diegetic sound (male character talking) -On- screen diegetic sound (tide coming onto beach/ waves)	This scene is on strong contrast to the previous as it is practically silent bar the rhythmic sound of the tide and waves rolling onto the beach. This contrast brings the audience back to the realisation that this danger can happen at the most peaceful and unlikely times.

Overall sound analysis:

The sound frequently jumps from dark and evil, to light. The dark sound often forebodes the danger which is to come in the scene, however it is contrapuntal as sound usually associated with being at the beach is light and happy. The sound which is used for the group beach scene parallels the image on screen as it is on-screen diegetic, which gives a sense of realism to the film. From this I have learned that using paralleled sound is effective when establishing the mood of a scene. I will be using this in my opening sequence to establish the different moods in different scenes.