Table Of ContentSound for Moving Pictures
Sound for Moving Pictures presents a new and original sound design theory called
the Four Sound Areas framework, offering a conceptual template for constructing,
deconstructing and communicating all types of motion picture soundtracks; and
a way for academics and practitioners to better understand and utilize the deeper,
emotive capabilities available to all filmmakers through the thoughtful use of
sound design.
The Four Sound Areas framework presents a novel approach to sound design
that enables the reader to more fully appreciate audience emotions and audience
engagement, and provides a flexible, practical model that will allow professionals
to more easily create and communicate soundtracks with greater emotional
significance and meaning.
Of obvious benefit to sound specialists, as well as motion picture professionals
such as film producers, directors and picture editors, Sound for Moving Pictures
also provides valuable insight for others interested in the subject; such as those
involved with teaching soundtrack analysis, or those researching the wider topics
of film studies and screen writing.
Neil Hillman, PhD, is a highly experienced sound designer, production sound
mixer and scholar who contributes to both multi-million budgeted feature films
and crowd-funded indie movies. His PhD investigated emotion within sound
design and considered enhanced audience engagement through the thoughtful use
of the soundtrack.
Sound Design
The Sound Design series takes a comprehensive and multidisciplinary view of the
field of sound design across linear, interactive and embedded media and design
contexts. Today’s sound designers might work in film and video, installation and
performance, auditory displays and interface design, electroacoustic composition
and software applications, and beyond. These forms and practices continuously
cross-pollinate and produce an ever-changing array of technologies and tech-
niques for audiences and users, which the series aims to represent and foster.
Series Editor: Michael Filimowicz
Foundations in Sound Design for Interactive Media
A Multidisciplinary Approach
Edited by Michael Filimowicz
Foundations in Sound Design for Embedded Media
A Multidisciplinary Approach
Edited by Michael Filimowicz
Sound and Image
Aesthetics and Practices
Edited by Andrew Knight-Hill
Sound Inventions
Selected Articles from Experimental Musical Instruments
Edited by Bart Hopkin and Sudhu Tewari
Doing Research in Sound Design
Edited by Michael Filimowicz
Sound for Moving Pictures
The Four Sound Areas
Neil Hillman
For more information about this series, please visit: www. r outle dge .c om /So und -
D esign /book -seri es /SD S
Sound for Moving Pictures
The Four Sound Areas
Neil Hillman
First published 2021
by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
and by Routledge
52 Vanderbilt Avenue, New York, NY 10017
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2021 Neil Hillman
The right of Neil Hillman to be identified as author of this work has been
asserted by him in accordance with sections 77 and 78 of the Copyright,
Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or
utilised in any form or by any electronic, mechanical, or other means, now
known or hereafter invented, including photocopying and recording, or in
any information storage or retrieval system, without permission in writing
from the publishers.
Trademark notice: Product or corporate names may be trademarks or
registered trademarks, and are used only for identification and explanation
without intent to infringe.
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloging-in-Publication Data
Names: Hillman, Neil, author.
Title: Sound for moving pictures: the four sound areas / Neil Hillman.
Description: New York: Routledge, 2021. | Series: Sound design | Includes
bibliographical references and index. |
Identifiers: LCCN 2020046825 (print) | LCCN 2020046826 (ebook)
Subjects: LCSH: Motion picture music–Instruction and study. | Film
soundtracks–Production and direction. | Sound design.
Classification: LCC MT64.M65 H55 2021 (print) | LCC MT64.M65
(ebook) | DDC 781.5/42–dc23
LC record available at https://lccn.loc.gov/2020046825
LC ebook record available at https://lccn.loc.gov/2020046826
ISBN: 978-0-367-51779-3 (hbk)
ISBN: 978-0-367-51778-6 (pbk)
ISBN: 978-1-003-05518-1 (ebk)
Typeset in Times New Roman
by Deanta Global Publishing Services, Chennai, India
Access the companion website for support material at: www. soun dfor movi ngpi ctures. com
To my Mother and Father, who love me but remain puzzled by
what I actually do to earn money; and for Heather, Toby, Sam
and Caitlin: my four areas of emotional focus.
Contents
List of figures ix
List of tables xi
Foreword xii
Preface xvii
1 Introduction 1
PART 1
Constructing the soundtrack 15
2 Emotion in sound design 17
3 Validating a new approach 34
PART 2
Deconstructing the soundtrack 41
4 The Four Sound Areas 43
5 Applying the Four Sound Areas 72
6 Reflections on practice 107
PART 3
Communicating the soundtrack 119
7 Adding to the lexicon 121
8 Closing thoughts 132
viii Contents
9 Appendices 137
Appendix 1 137
Appendix 2 137
Appendix 3 138
Appendix 4 142
Appendix 5 148
Appendix 6 148
Appendix 7 148
10 Credits 158
Glossary 159
References 168
Index 179
Figures
0.1 Cumulostratus with Cirri above, from Howard’s Modification
of Clouds xiii
2.1 Walter Murch’s ‘Encoded – Embodied’ sound spectrum 27
4.1 A simple 3-axis model representing the Four Sound Areas 56
4.2 Winter Light, (1963) 58
4.3 A pocalypse Now, (1979) 63
4.4 D ogville, (2003) 67
5.1 T he Craftsman (2012) 74
5.2 T he simple Sound Design ‘quadrant’ used for The Craftsman to
show the intended emotional positioning of the Sound Design
for Sections A, B, C and D. The simple Sound Design quadrant
of Figure 5.2 also draws on Russell’s circumplex model of
affect, albeit a ‘semi-circumplex’ version is used in this work.
The vertical axis represents Valence (Russell, 1980) 75
5.3a T he Four Sound Areas observed through film Sections A1–5,
B–1, and C1–2 81
5.3b T he Four Sound Areas observed through film Sections D1–2 82
5.4 A verage level by Sound Area for Sections A–D, where Section
A’s intended emotion = Suspense, B = Hope, C = Shock and
D = Despair 82
5.5 A verage levels for complete film, with Standard Deviation ‘σ’2.
The σ for Narrative = 0.3, Abstract = 1.0, Temporal = 0.7,
Spatial = 0.4 83
5.6 H ere and Now (2014) 84
5.7 S ound compass used for initial discussion with Director Lisle Turner 86
5.8a C astle scene, audio mix emphasis 87
5.8b C ornfield scene, audio mix emphasis 88
5.8c C ave scene, audio mix emphasis 89
5.8d O rchard scene, audio mix emphasis 90
5.8e R iver scene, audio mix emphasis 91
5.8f B ridge scene, audio mix emphasis 92
5.8g T ree house scene, audio mix emphasis 93
5.8h M ountain scene, audio mix emphasis 94
