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Palmer, I. J. (2002). How realistic is the sound design in the D-Day landing sequence in Saving Private Ryan? Unpublished thesis master's, Bournemouth University. 
Added by: Mark Grimshaw-Aagaard (3/11/06, 11:12 AM)   Last edited by: Mark Grimshaw-Aagaard
Resource type: Thesis/Dissertation
BibTeX citation key: Palmer2002
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Categories: Film Music/Sound, Sound Design
Keywords: Diegetic/non-diegetic, Film sound
Creators: Palmer
Publisher: Bournemouth University
Views: 10/924
Discussion of realism/authenticity of sound design in the film Saving Private Ryan.

Added by: Mark Grimshaw-Aagaard  Last edited by: Mark Grimshaw-Aagaard
p.3   Introduces and discusses the concept of authenticity in particular:

"'Authentic Timbre' - Sounds that are accurate to their diegetic source.
'Authentic Choreography' - Sound that is designed to be accurate to a situation."   Added by: Mark Grimshaw-Aagaard
p.4   Despite the title of the dissertation, "We will not be discussing realism and sound in Saving Private Ryan."

The reason given is that SPR does not make use of Chion's acoustic discomfort to heighten sense of realism -- SPR's sounds are crisp and detailed hence has no sense of realism. (???)

Expands Chion's argument that verisimilitude (belief that sound is real) is more worthy than authenticity.   Added by: Mark Grimshaw-Aagaard
p.9   Mentions the Hollywood "law of enlarged firearm calibre."

e.g. Terminator 2's shotgun sound is comprised mainly of two cannons.   Added by: Mark Grimshaw-Aagaard
pp.5–-6   Discusses the use of gunshot ricochet in films mentioning its status as cliché in Westerns.   Added by: Mark Grimshaw-Aagaard

John Broomhall (head of Audio Infogrames) states that the sound in Medal of Honor was based on SPR's audio (Medal of Honor series 1999-2012).

Medal of Honor series. (1999-2012). [Computer Game].   Added by: Mark Grimshaw-Aagaard