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Abstract

The aim of this project is to critically evaluate whether realist and stylist interpretations of, and applications to, violence in film are in conflict, or complement each other in the modern film era. After outlining my methodological approach to the literature, the study first traces the historical development of sound design in film, from musical accompaniment, through stylism to realism. The focus is on the popular genre of violent film due to its wide range of creative examples of sound design. Using key examples throughout, Chapter 2 on stylism demonstrates the development of Mickey Mousing at the end of the 1920s. It outlines the evidence that Mickey Mousing was often used in an integrated way for both musical accompaniment and then later Foley sound effects. Chapter 3 describes the complex evolution of realistic sound design through the advent of technology and later, digitalisation. It aimed to move away from the highly exaggerated or manipulated sound effects of stylism, to represent the world in a way that closely mirrors real-life experiences. The chapter shows however, how realism cannot always be totally realistic, depending on film requirements. The final chapter discusses how the binary approach to realism versus stylism is not supported in the modern violent film era. Despite the former growing in reaction to the latter, it gives examples and explains why the two now often co-exist and, in many cases, are integrated.

Course: Music Technology - BSc (Hons) - U3958PYC

Date Deposited: 2025-01-09

URI/permalink: https://www.library.port.ac.uk/dissert/dis14598.html