Name, first nameSimone HörlerYear of birth1995eMailgraphics@simonehoerler.chUniversityFHNWField of Interest / research fieldCommunication Design / Visual CommunicationTitle of projectThe Reciprocal Relationship of Image and SoundAbstractThe Reciprocal Relationship of Image and Sound in the Narrative Animated Film
Animation is increasingly being used for communication in a multitude of contemporary cultural practices, from installations to online media. As a film form, animation increasingly engages with expressive tools and techniques, often using either drawn components, computer animation or three-dimensional modelling.
The discipline of film studies has recently begun to acknowledge the importance of
animation and there has been a corresponding increase in animation publications. Film-sound research has also improved, with numerous books, study programmes, conferences, and research outcomes. Yet relatively there is little material on the subject of image and sound relationship specifically within animated films. Yet there is relatively little material still on the subject of image and sound relationship specifically within animated films.
This Master Thesis deals with the reciprocal relationship of image and sound in animated film. Furthermore, the focus of this investigation lays on the narrative animation, whose visual elements are highly abstracted but nevertheless figuratively understood. The main focus in the acoustic field is on the function of noises and sound effects.
In the live-action film, the viewer assumes that at the beginning there was an original scene, which was recorded by the film camera, and thus original sounds were present. So there is a causal relationship between the original and the image and sound.
In contrast to the live-action film, the moving elements, figures and forms in the animated film itself are artificially made, and therefore do not produce any noise. There is no sound source that can be recorded or used as a reference and therefore it is essential for the animated film to subsequently produce and adapt the auditory layer in the montage.
Since these film images are artificially constructed, the acoustic level, however, does not have to satisfy any claim to reality. Thus, the animated film offers great creative freedom in the combination of image and sound.
In the practical work, the boundaries between figurative and abstract animation have been explored through the combination of different levels of abstraction, both in the visual and in the acoustic domain, in order to gain a better understanding of the interplay of image, sound and movement in the medium of animation.
Although the short film is clearly attributable to narrative animation, there are sequences of strongly abstract character that do not clearly define some audio visual objects.
It was explored when the figurative perception of an animation starts breaking down into abstract parts and which role in this context the sound effects, the visual representation, the movement of the individual elements and the combination of all these aspects play.
This master thesis deals with the question of how objects and figures can be constructed by image and sound within an animated film and the way they evoke specific associative and emotional reactions in the audience, despite or rather because of their purely synthetic images in combination with sounds.
The synthesis of image and sound in the narrative animated film ultimately serves to tell a story and thereby trigger emotions in the recipient which is, what makes the consumption of these films attractive.TutorsInvar Torre Hollaus, Jiri Oplatek, Claire RaymondFileDownload file