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Abstract
This paper examines the function of music and sound as important elements of documentary film communication. It considers the soundtrack to have equal value as the visual track. This is even more appalling when sound is viewed as an aesthetic constituent of a film or as acoustic signs with equal communicative value as visual signs. Two films are used to show the role music and sound play in facilitating comprehension in a documentary film. Focusing particularly on testimonies, narrative commentary, filmic silence and music, the study shows how documentary films provide a unique medium to engage an audience in a story of facts and provides a unique vehicle for information transmission. The success of these two films among mainstream audiences indicates the power of a thoughtful and intentional soundtrack which accentuates the subject without dictating it and provides examples of a utilisation of music to build an emotional connection between the audience and the film’s subject matter.
Highlights
Information transmission or communication can be channeled in various ways from an emitter to a receiver
This paper explores the place of music and sound as constituent elements of a film’s sound track, in fostering communication
This paper explores the role of music as a sign in documentary films and how meaning is begotten by the audience
Summary
Information transmission or communication can be channeled in various ways from an emitter to a receiver. Film is considered as an art form which combines visual and auditory communicative mechanisms to channel messages to receivers. The relationship between one’s concept of fishes and the physical reality of fish is signification; it is one’s way of giving meaning to the world of understanding it From another perspective, Peirce classified signs in terms of symbol, icon and index. Looking at music as a sign will be considering that “the signifier of a sign is not a sound but an acoustic image, a sensation, a psychological not a physical entity, and the signified of a sign is a concept, not an object.” Film semiotics in this case looks at music in the same capacity as any other sign in the filmic communication Looking at music as a sign will be considering that “the signifier of a sign is not a sound but an acoustic image, a sensation, a psychological not a physical entity, and the signified of a sign is a concept, not an object.” Film semiotics in this case looks at music in the same capacity as any other sign in the filmic communication
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