Proposal hand in and supporting documentation.
Learning Contract
Module Code: AG1084A
Module Title: Honours Project
Student Name:Russell Bennett
Student Number:1002077
Telephone Number:07772327385
Project Title:Sound of silence:An understanding of the Sound Designer
Project Aim:The aim of this project is to conduct a practice based investigation into a comparative study of two of Joel and Ethan Coen films. Examining the importance of their use of sound design, highlighting the relationship between designer and director and discussing how this can lead to driving narrative and human perception.
Objectives:
Objective 1.0Examine No country for old men and Fargo and discuss relationship with sound designers and composers.
Objective 2.0 Explore the use of sound design within the two films determining a critical framework to help my own practical research to support my hypothesis.
Objective 3.0 Develop and conduct practical research to test human response and perception into how sound design drives narrative and human perception. Reflection will be provided upon completion of the tests.
Objective 4.0 Display my findings answering the project aim at Abertays Degree show exhibition and evaluating the final outcome of the research.
Methodology:
1.1 Research Diary
1.1.1 Review of current literature giving context to Fargo
1.1.2 Review of current literature giving context to No Country for Old Men
1.1.3 Review of relationship between Coen Brothers and Composer Carter Burwell and designer Skip Lievsey
1.1.4 Reflect on the findings within the subject area discussing the most appropriate literature relating to the project aim
1.1.5 Write a literature review on findings within subject area for dissertation
2.1 Critical Framework
2.1.1 Identify sound design framework
2.1.2 Identify driving narrative framework
2.1.3 Identify human perception framework
2.1.4 Identify successful sound design within Fargo
2.1.5 Select specific scenes to work with
2.1.6 Identify successful sound design within No Country for Old Men
2.1.7 Select specific scenes to work with
2.1.8 Prepare questions to ask individuals in interviews about sound design
2.1.9 Prepare questions to ask focus groups about the clips
2.1.10 Write a critical evaluation of critical framework to support testing
3.1 Testing
3.1.1 Create context within the film clips for viewers
3.1.2 Cut and edit the film clips to have audio and without audio
3.1.3 Have selected pieces of audio from clips to gauge reaction without image
3.1.4 Arrange and conduct interviews with individuals
3.1.5 Arrange, conduct and show focus groups film clips
3.1.6 Hand out questionnaire on sound design
3.1.7 Write documentation containing information about film clips chosen and why
3.1.8 Write documentation containing information about audio clips chosen and why
3.1.9 Write a review of the testing for the dissertation detailing the findings from the testing and reflect upon how the testing affects the overall project aim
4.1 Practice
4.1.1 Select the most successful film clips from testing results
4.1.2 Select the most successful areas of sound design applied to the film and testing in reference to the films to develop new sound design
4.1.3 Begin to create new sound design for the film clips chosen
4.1.4 Create sound effects for the film clips
4.1.5 Create composition (if any) for film clips
4.1.6 Prepare films clips for audio to be mixed and edited
4.1.7 Finalise the two film clips
4.1.8 Write up documentation as a critical evaluation reflecting on the process of re-creating the audio for the film clips for dissertation
Submission Deliverables:
The following deliverables will be provided as evidence that the objectives mapped out have been achieved:
1.1 Research diary
· Online blog containing all the literature found highlighting the context of the project. Discussing the points of concern, understanding of the subject area and areas to investigate further and provide a form of reflection on findings
2.1 Critical Framework
· Create a document identifying the critical framework outlining successful examples of using sound design within the two films. The aim of this document is to support the proposers hypothesis and lead toward transparency within the testing
3.1 Testing
· Chosen film clips. Film clips to provide context to the viewer so as to provide an unbiased approach
· Audio clips without image. To try and gauge the effect audio has without image.
· Chose film clip without select audio. To gauge the importance of audio as a whole
· Interviews. Series of one on one interview’s to gather qualitative data on an individual’s approach to what they think sound on film is.
· Focus groups. To gauge a larger audiences reaction to what they viewed, as we generally view the film in the cinema in a larger audience. Often opinions can be influenced.
· Reflection on results at the end of testing
4.1 Practice
· Final documentation of work showing the project progression
· Documentation containing ideas for sound files for the film clips
· The final film clips using my own sound re-created with supporting documentation showing how and why I chose to use the sound where I did. Resources:
The proposer requires the following resources to achieve the project:
- PC or Mac computer, motion software (available on macs)
- Pro tools software (available on macs)
- Cubase software (available on pc’s)
- Microsoft Office to create documentation for dissertation
- Access to the Hannah McClure Centre to show film clips to focus groups
- Hand held recorders
- Microphones and XLR cable
AG1064A: Professional Practice– Project Proposal
Project Title: | Sound of silence: An understanding of the sound designer |
Proposer: | Russell Bennett |
Student Number: | 1002077 |
Programme: | Creative Sound Production |
Specialism(s): | Sound on film, film music, sound design |
Project Description
1. Abstract (Approx 250 words) |
This project concerns the role of understanding the sound designer. Sound on film is widely recognised as something that needs to be there just because it does. If a gun fires, door closes or a tap is running we hear that sound because we as the audience expect it. Sound effects add to reality of what we experience as humans in life and music adds something to specific scenes without really understanding or accepting why. Looking at both disciplines together this concerns sound design and how the sound within film is specifically designed to fit with the onscreen image therefore creating another art form. Drawing studies from two films – Fargo and No Country for Old Men - both by the same directors, but entirely different methods and styles, it is hoped to identify the importance of firstly; the relationship between designer, composer and director but perhaps more importantly how sound design can impact the cognition of film, driving the narrative and the human perception of what we as the audience watch. The Coen brothers (Joel and Ethan) are film directors, producers and writers, critically acclaimed and revered by their peers for the creative vision and art. Film studies have shown appreciation for two of their films: Fargo and No Country for Old Men, in particular for their writing and direction but not so much for their use of sound within their films. Without the sound created for both films, be it music or sound effects they would not have the same desired effect on the narrative or the audience watching. This project is an investigation into the comparative study into these two films, their approach and use of sound design examining how this leads to driving narrative and human perception. By exploring this in practice it is hoped to identify a greater understanding of the role of the sound designer. The methods used will lead to gathering information and data that will in turn be used to create a final artefact where I will be looking to support my hypothesis that sound design can be used as a story telling method and that sound design plays a major role in how us as humans perceive what we are viewing.
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2. Project Aim and Objectives |
The aim of this project is to conduct a practice based investigation into a comparative study of two of Joel and Ethan Coen films. Examining the importance of their contrasting use of music and sound design, highlighting the relationships between designer, composer and director, discussing how this canlead to driving narrativeand human perception.
Objective 1.0 Examine No country for old men and Fargo and discuss relationship with sound designers and composers.
Objective 2.0 Explore the use of sound design within the two films determininga critical framework to help my own practical research to support my hypothesis.
Objective 3.0 Develop and conduct practical research to test human response and perception into how sound design drives narrative and human perception. Reflection will be provided upon completion of the tests.
Objective 4.0 Display my findings answering the project aim as an exposition at Abertays Degree show exhibition, evaluating the final outcome of the research.
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3. Rationale |
The role of the sound designer and sound on film as a whole is undervalued misunderstood and therefore underappreciated, It serves a far greater purpose than just being there. Since sound became apparent on film in 1928 it revolutionised the industry. However it took a considerable amount of time before studies were conducted into its purpose and it is still fighting to be recognised as a piece of art. As much as sound designers of film - such as Skip Lievsay who has also worked with the Coen brothers since their first film in 1984 - can win an Oscar and be entitled to have his name placed in the opening credits, they still struggle for their creations to be recognised as an art form in all its subtleties within the industry. As Skip Lievsay eludes to in an interview “The agreements between the guilds and producers refer to the main titles with the separation of them being only for “Artistic Contribution”…they consider all other workers to contributing as “craft workers” (Riehle, 2007). This is an important area of under appreciation to note that even within the industry where you can win an award for work it is not recognised as an art form. However one writer suggests that “film has brought into focus the practice of sound art…and sound design is often an equal footing with it” (D'escrivan, 2009) Fargo and No Country for Old Men are both completely different films in terms of their sound design and music. Perhaps the most interesting part is how they use the different approaches and yet are successful both times. In another interview Skip Lievsay mentions how we now live in a culture where need to have big sounds in films to get recognised but looking at No Country for Old Men he highlights, “It’s a stunning example to the idea that you have to have a huge sound to be recognised” (Jackson, 2008). Something that could not be further from the truth in that film. Fargo however uses a more traditional orchestral score which influences narrative and audience in a different way. What is sound design and why is it important, one designer tells us, Craig Berkey - who also works closely with the Coen brothers, “Sound design for me, in the world of film, is the overall thought/concept and execution of the entire sound-track...my role as a sound designer is to help filmmakers achieve and exceed their aural aspirations for their films”(Albrechtsen, 2011). Clearly pointing out that the relationship between director and composer is important first of all, but it is serving a purpose. Music must serve more of a purpose than for the sake of it just being there, which is an opinion further backed by Carter Burwell a famous Composer who has worked on all of the Coen brothers films. “It tells you about character, it tells you about story, plot, mood and by the used of motifs that recur, it creates connections, either subliminally or consciously, for the audience” (Burwell, 2003). This highlights that sound design can lead to influencing a feeling that directors want the audience to experience. The relationship between director and sound designer/composer, at an early stage allows for dialogue to be opened up between the two. One source tells us “what’s bad is to be forced to get a composer too late in the game and not have dialogue – good dialogue – with the composer”(Lynch, 2001). With this in mind, this project is set it out to demonstrate the value sound design plays within film as a whole. By identifying two specific but entirely different films to compare the proposer aims to identify exactly how big a role sound can play from driving narrative to leading human perception, examining closely the relationship between the sound designer and directors.The objectives are set out to identify certain aspects that relate to both the films which in turn lead to creating a critical framework defining what was successful and why. Tests will be created as part of social science research as I’m gauging audience reaction using my critical framework to show to people in focus groups and interviews. This is to add weight to the hypothesis and help the proposer answer the project aim. The final objective Is to produce my findings and all research as an exposition.
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4. Project Methodology |
For the objectives above to be achieved a specific methodology will devised. This will be focused to allo w the proposer to implement my practice-based research into the comparative study of the two aforementioned films, culminating in testing and reflection of results gained and creating a final artefact.
A research diary will be created to show the progression of my findings and document the dates when this occurs, highlighting thoughts and reflection of findings. The diary will be focused on investigating existing literature on work supporting the context of the project, primarily current sound designers and directors and more specifically the relationship between the Coen brothers, their films and composers/sound designers, identifying how they drive the narrative and influence human perception. The diary will involve the collection of all my ideas that will support and underpin the project proposal showing an understanding behind the context of the research that can be applied in a practice based project. This method provides context of personal research of the subject and is a comprehensive portfolio of the diary that can be analysed. This diary will take the form of a blog containing text, audio and video files.
A critical framework guideline will be set out to help the proposer choose the most appropriate clips from both films to take apart the audio to analyse and set up for the testing. Examining their film techniques and sound design to assess how this adds to success of specific scenes within the films. This will also allow for creating questions for focus groups and interviews. Research will be undertaken by the proposer to properly identify appropriate techniques for asking these questions and how.
Practice based film clip media tests to be conducted as the third stage of the research. These tests will be created by selecting certain sections of the two films and other relating scenes from the same directors. These clips will be selected from the critical framework identified from the previous objective. The tests will provide the information needed to create the final artefact and help add substance to the proposers’ project aim and hypothesis. Reflection will be provided upon completion of the tests. Focus groups are tests chosen due to the fact the proposer is trying to gauge an audience reaction, this relies on exposing them to the film clips then finding out their opinions. This form of research is inductive of human response which leads to qualitative data. Interviews fit under the umbrella as well as it is an in depth discussion into an individuals opinion.
The final method will be the creation of sound design working with the film clips selected to display as an exposition. This will document the process of the proposer identifying the study between the two films and how sound design plays a large part in the narrative and human perception and importance of the relationship between designer and director. This method identified permits the practice to embody the work of the research allowing the proposer to generate, evaluate and analyse the research and communicate it through a final artefact
This research proposal contains practice-based methods that form a research paradigm from ontology and epistemology that help form this methodology; thus predominantly interpretivism research paradigm. This methodology aims to provide a greater understanding of the project aim and will help the proposer to answer said aim. As the methodology concerns entirely practice-based methods, all materials will be documented and accounted for, showing an un-bias and transparent approach through to the process of analysing the results and final outcome.
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5. Outcomes and Deliverables |
The following deliverables will be provided as evidence that the objectives mapped out have been achieved. 1.1 Research diary · Online blog containing all the literature found highlighting the context of the project. Discussing the points of concern, understanding of the subject area and areas to investigate further and provide a form of reflection on findings. Help to begin to identify the critical framework needed.
2.1 Critical Framework · Create a document identifying the critical framework outlining successful examples of using sound design within the two films. The aim of this document is to support the proposers hypothesis and lead toward transparency within the testing · Create and prepare questions for interviews and focus groups · Write up critical evaluation on framework decided upon 3.1 Testing · Chosen film clips. Film clips to provide context to the viewer so as to provide an unbiased approach · Audio clips without image. To try and gauge the effect audio has without image. · Chose film clip without select audio. To gauge the importance of audio as a whole · Interviews. Series of one on one interview’s to gather qualitative data on an individual’s approach to what they think sound on film is. · Focus groups. To gauge a larger audiences reaction to what they viewed, as we generally view the film in the cinema in a larger audience. Often opinions can be influenced. · Reflection on results at the end of testing 4.1 Practice · Gather final documentation of work showing the project progression · Documentation containing ideas for sound files for the film clips · The final film clips using my own sound re-created with supporting documentation showing how and why I chose to use the sound where I did.
The final artefact will take the form of the project showing progression of the comparative study and how this effected the proposers approach to sound design on the specific clips
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6. Expertise and Experience of Project Proposer |
The proposer also has approximately five years’ experience with studying and working in the sound production industry using industry standard software and equipment allowing for comprehensive abilities to create and re-create sound artefacts for select film clips. The project proposer has in-depth knowledge in music composing for moving image as well as sound effects, most recently working closely with an artist composing music for short animations for ITV. Also composing music for animations for an honours student at Duncan and Jordanstone school of art. These skills allow for furtherunderstanding the process that goes into music composition for moving image. The proposer also has experience recording, editing and documenting sound effects into libraries for animations. The proposer also composed music for an interactive iPhone application for educational videos.
However it has been identified that the proposer will have to develop skills into researching journals and articles understanding the context of the subject area in greater detail and articulating them in the correct style. It has also been identified that the proposer has no prior knowledge to organising focus groups or interviews, these will need to be prepared in advance for the testing. As the project concerns human perception and narrative the proposer will also have to further advance his knowledge in film driven narrative and how human perception is measured in a filmic environment.
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7. Timetable |
Task Name | Duration | Start | Finish |
Research methods and Activities | 161 days | Tue 20/09/11 | Tue 01/05/12 |
1.1 Research Diary - Blog | 38 days | Tue 25/10/11 | Thu 15/12/11 |
1.1.1 Review of current literature giving context to Fargo | 7 days | Tue 25/10/11 | Wed 02/11/11 |
1.1.2 Review of current literature giving context to No Country for Old Men | 7 days | Thu 03/11/11 | Fri 11/11/11 |
1.1.3 Review of relationship between Coen Brothers and Composer Carter Burwell and designer Skip Lievsey | 7 days | Mon 14/11/11 | Tue 22/11/11 |
1.1.4 Reflect on the findings within the subject area discussing the most appropriate literature relating to the project aim | 7 days | Wed 23/11/11 | Thu 01/12/11 |
1.1.5 Write a literature review on findings within subject area for dissertation | 10 days | Fri 02/12/11 | Thu 15/12/11 |
2.1 Critical Framework | 49 days | Wed 07/12/11 | Mon 13/02/12 |
2.1.1 Identify sound design framework | 7 days | Wed 07/12/11 | Thu 15/12/11 |
2.1.2 Identify driving narrative framework | 7 days | Fri 16/12/11 | Mon 26/12/11 |
2.1.3 Identify human perception framework | 7 days | Wed 14/12/11 | Thu 22/12/11 |
2.1.4 Identify successful sound design within Fargo | 7 days | Wed 21/12/11 | Thu 29/12/11 |
2.1.5 Select specific scenes to work with | 7 days | Fri 30/12/11 | Mon 09/01/12 |
2.1.6 Identify successful sound design within No Country for Old Men | 7 days | Wed 04/01/12 | Thu 12/01/12 |
2.1.7 Select specific scenes to work with | 7 days | Fri 13/01/12 | Mon 23/01/12 |
2.1.8 Prepare questions to ask individuals in interviews about sound design | 5 days | Mon 16/01/12 | Fri 20/01/12 |
2.1.9 Prepare questions to ask focus groups about the clips | 5 days | Mon 23/01/12 | Fri 27/01/12 |
2.1.10 Write a critical evaluation of Critical framework to support testing | 14 days | Mon 23/01/12 | Thu 09/02/12 |
3.1 Testing | 80 days | Tue 15/11/11 | Mon 05/03/12 |
3.1.1 Create context within the film clips for viewers | 3 days | Tue 15/11/11 | Thu 17/11/11 |
3.1.2 Cut and edit the film clips to have audio and without audio | 14 days | Tue 22/11/11 | Fri 09/12/11 |
3.1.3 Have selected pieces of audio from clips to gauge reaction without image | 14 days | Mon 12/12/11 | Thu 29/12/11 |
3.1.4 Arrange and conduct interviews with individuals | 21 days | Mon 09/01/12 | Mon 06/02/12 |
3.1.5 Arrange, conduct and show focus groups film clips | 21 days | Tue 07/02/12 | Tue 06/03/12 |
3.1.6 Critically evaluate the findings from testing | 7 days | Mon 30/01/12 | Tue 07/02/12 |
3.1.7 Write documentation containing information about film clips chosen and why | 7 days | Tue 07/02/12 | Wed 15/02/12 |
3.1.8 Write documentation containing information about audio clips chosen and why | 7 days | Tue 07/02/12 | Wed 15/02/12 |
3.1.9 Write a review of the testing for the dissertation detailing the findings from the testing and reflect upon how the testing affects the overall project aim | 14 days | Wed 15/02/12 | Mon 05/03/12 |
4.1 Practice | 42 days | Mon 05/03/12 | Tue 01/05/12 |
4.1.1 Select the most successful film clips from testing results | 2 days | Mon 05/03/12 | Tue 06/03/12 |
4.1.2 Select the most successful areas of sound design applied to the film and testing in reference to the films to develop new sound design | 2 days | Wed 07/03/12 | Thu 08/03/12 |
4.1.3 Begin to create new sound design for the film clips chosen | 14 days | Wed 07/03/12 | Mon 26/03/12 |
4.1.4 Create sound effects for the film clips | 14 days | Tue 27/03/12 | Fri 13/04/12 |
4.1.5 Create composition (if any) for film clips | 14 days | Wed 07/03/12 | Mon 26/03/12 |
4.1.6 Prepare films clips for audio to be mixed and edited | 7 days | Mon 26/03/12 | Tue 03/04/12 |
4.1.7 Finalise the two film clips | 2 days | Wed 04/04/12 | Thu 05/04/12 |
4.1.8 Write up documentation as a critical evaluation reflecting on the process of re-creating the audio for the film clips for dissertation | 21 days | Tue 03/04/12 | Tue 01/05/12 |
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8. Ethics and Risk Assessment |
Ethics As this project concerns human participation and the films clips shown will be that of age 18 and over, anyone who participates will have to be given context of what they are watching and that it will contain moderate violence. As the proposer is also seeking the response of human emotion therefore participants will need to be given context to what they are answering. Risks People attending the focus groups outlined as part of the third method and getting a full discussion from people has potential risks. The proposer will aim to arrange as many sessions as possible which will hopefully allow for enough information to provide a commentary and form of data on the questions asked at the sessions As stated in objective four, it is the proposers plan to create or re-create sound or music for the clips shown, there may be time constraints if this is possible to do all, a contingency plan to counter this would be to use already existing sound libraries I have, or in the very unlikely case, use the existing sound on the clips and state why in the evaluation that the existing sound had to be used. Relying on software function properly when editing clips, creating sound files and producing the final artefact. The proposer has identified several different software applications that can be edited and mastered when creating sound and moving images.
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9. Resources |
The proposer requires the following resources to achieve the project: - PC or Mac computer, motion software (available on macs)
- Pro tools software (available on macs)
- Cubase software (available on pc’s)
- Motion software (available on macs)
- Microsoft Office to create documentation for dissertation
- Access to the Hannah McClure Centre to show film clips to focus groups
- Hand held recorders
- Microphones and XLR cable
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10. References |
Reference listAlbrechtsen, P. (2011, 06 17). Behind the art: Craig Berkey. Retrieved 10 30, 2011, from Designing sound: www.designingsound.org/2011/06/behind-the-art-craig-berkey/ Burwell, C. (2003). Composing for the Coen Brothers. (pp. 195-208). London: Wall Flower Press. Coen, J. (Director). (1996). Fargo [Motion Picture]. Coen, J. (Director). (2007). No Country for Old Men [Motion Picture]. D'escrivan, J. (2009). Sound Art (?) on/in Film. Organised Sound , 65-73. Jackson, B. (2008, 10 01). SFP: Skip Lievsay - A quarter of a century with the Coen Bros. Retrieved 10 28, 2011, from Mix online: http://mixonline.com/post/features/sfp-skip-lievsay/ Lynch, D. (2001). Action and Reaction. In D. F. Larry Sider (Ed.), School of sound lectures (pp. 49-53). Great Britain: Wallflower Press. Riehle, J. (2007, 12 14). Exclusive interview with Skip Lievsay, Supervising sound editor.Re-recording Mixer on "I am Legend". Retrieved 10 30, 2011, from Designing Sound: http://designingsound.org/2007/12/exclusive-interview-with-skip-lievsay-supervising-sound-editorre-recording-mixer-on-i-am-legend/
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