A. Svyatysheva, A. Krasnoskulov

«Synchronization» of the film’s sound image

As the authors of the published article note, a soundtrack is the integral part of a modern film and one of the priority expressive means conformably to the film dramaturgy of our days. The sound space in a film has a quite complicated inner structure: its four components (music, speech, noise and silence) are constantly in dynamics of numerous interactions, contrapositions, interconnections, but have keeping their own autonomy too. A soundtrack and visual picture interact analogously and supplement each other mutually during a film. In this connection, the purposeful artistic and technical «synchronization » of the sound and visual lines become as one of the most important today’s sound-producing problems. The authors of the article are given the special consideration for the «contrapuntal» principle of intercommunication (between a soundtrack and visual picture) which is embodied in the conditions of a film. The indicated principle finds paramount significance because of the corresponding sound spaces, the real and the virtual one. The loosely interpreted «synchronism» makes provision for interconnection between the temporal and spatial aspects of the sound line. First of all the question is a combination of the sound signal parameters with the features of space where the action takes place. It should be allow for the necessity to reach the intonation-semantic accordance between a sound and visual picture.

Key words

sound space of a film, sound engineering, sound and visual film lines, «synchronization» of sound in the film industry.

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