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Bather, N. (2004). The darkness of Mordor: The sound of evil in The Lord of the Rings. Screen Education, 37, 167–170. 
Added by: Mark Grimshaw-Aagaard (4/11/06, 10:47 AM)   Last edited by: Mark Grimshaw-Aagaard
Resource type: Journal Article
BibTeX citation key: Bather2004
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Categories: Film Music/Sound, Sound Design
Keywords: Cinema, Film sound, Music, Narrative, sound design
Creators: Bather
Collection: Screen Education
Views: 9/816
A popularised account of the sound elements contributing to perceptions of good/evil in LOTR.
Added by: Mark Grimshaw-Aagaard  Last edited by: Mark Grimshaw-Aagaard
p.167   "If the sound design functions in mesh with the visual image, then the two parts become a complete whole and one is almost indistinguishable from the other."   Added by: Mark Grimshaw-Aagaard
p.168   "...the acculturation of an audience towards certain sounds such that to maintain realism some sounds are required whether or not those sounds are actually possible." Gives an example of the 'swishing' of a blade slicing through air. While such a sound is possible, in the film it is greatly enhanced/manipulated.   Added by: Mark Grimshaw-Aagaard
p.168   Aurally, "...evil takes the familiar and manipulates it..."   Added by: Mark Grimshaw-Aagaard

"Largely, the sound of good is representative of the place that the character or screen thinks of as home. ... Evil is invariably signified by discordant sounds. Usually but not always of a bass register and sometimes at a higher volume that punctuates the quiet of the normality that has been depicted."

See also van Leeuwen (van Leeuwen 1999, pp.92–124)

van Leeuwen, T. (1999). Speech, music, sound. London: MacMillan Press.   Added by: Mark Grimshaw-Aagaard
p.167   Makes a distinction between purely functional sound and sound present for dramatic effect.   Added by: Mark Grimshaw-Aagaard
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