Comments on: Designing Silence https://designingsound.org/2014/06/28/designing-silence/ Art and technique of sound design Mon, 03 Oct 2016 14:11:34 +0000 hourly 1 https://wordpress.org/?v=6.2.8 By: week 5 – annaandthedigitaltechnologies https://designingsound.org/2014/06/28/designing-silence/#comment-487833 Mon, 03 Oct 2016 14:11:34 +0000 https://designingsound.org/?p=27557#comment-487833 […] Designing Silence […]

]]> By: Les Passeurs de Silence (en projet) | Jean-Marc L'HOTEL https://designingsound.org/2014/06/28/designing-silence/#comment-414023 Tue, 16 Jun 2015 11:26:06 +0000 https://designingsound.org/?p=27557#comment-414023 […] https://designingsound.org/2014/06/designing-silence/ […]

]]> By: SC Sound and Music – Writing for the Media & Short Film Screenplay https://designingsound.org/2014/06/28/designing-silence/#comment-376057 Sun, 08 Feb 2015 23:47:34 +0000 https://designingsound.org/?p=27557#comment-376057 […] More on silence: Designing Silence […]

]]> By: dizzy https://designingsound.org/2014/06/28/designing-silence/#comment-240113 Thu, 03 Jul 2014 22:16:43 +0000 https://designingsound.org/?p=27557#comment-240113 Thanks for this, it was a very nice, inspiring reading.
Shifting slightly to a film score awesomeness, it also reminded me of the strong impression I got when I first met the cinema of Robert Bresson.
At first I did not understand the state of grace, wonder and otherness that his movies dragged me, then I realized that it was mostly due to the great silence in which the film’s story was dropped. Such silence also reflected the alienation, the state of loneliness, or losing heroism of his characters. It was his aphorism that a “a sound must never come to the rescue of an image, nor an image to the rescue of a sound.” …maybe a little hard for us to digest, but, how can I say, “philosophically correct”… anyway, very forefront for his time!
Bresson actually made a very rare use of soundtracks, often rejecting the use of background music and extra-diegetic sounds in film as an unnecessary and distracting ornament, with few exceptions being sparse but precise spots of pre-existing music, sometimes recurring as a theme.
But on the other hand he spent a great care and sponsored an extreme focused use of real-life sounds, both environments and noises arising from the things and from the actions carried out by his characters, stripped from any other sound commentary.
“The noises must become music”, was one of his faith, as we can read once again in the book “Notes on the Cinematographer”.
And eventually in this “music of noises”, a featured place is devoted to the “noise of silence”, which in Bresson’s films it definitely gets a dilated, immense space.

P.S. Here a final sequence from the film “Au Hasard Balthazar”
https://www.youtube.com/watch?v=JToByR14Q0Y

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