A General Aesthetics of American Animation Sound Design
ANM0010.1177/1746847718782889AnimationTaberham 782889research-article2018 Article animation: an interdisciplinary journal A General Aesthetics of 2018, Vol. 13(2) 131 –147 © The Author(s) 2018 Reprints and permissions: American Animation sagepub.co.uk/journalsPermissions.nav DOI:https://doi.org/10.1177/1746847718782889 10.1177/1746847718782889 Sound Design journals.sagepub.com/home/anm Paul Taberham The Arts University Bournemouth, Poole, UK Abstract From the inception of sync sound in the late 1920s to the modern day, sound in animation has assumed a variety of forms. This article proposes four principal modes that have developed in the commercial realm of American animation according to changing contingencies of convention, technology and funding. The various modes are termed syncretic, zip-crash, functional and poetic authentication. Each one is utilized to different aesthetic effect, with changing relationships to the image. The use of voice, music, sound effects and atmos are considered as well as the ways in which they are recorded, manipulated and mixed. Additionally, the ways in which conventions bleed from one period to the next are also illustrated. Collectively, these proposed categories aid in understanding the history and creative range of options available to animators beyond the visual realm. Keywords animation sound, animation music, animation voice, Ben Burtt, Carl Stalling, cartoons, CG animation, Disney, limited animation, rubber hose, Warner Bros. Sound sells the reality of an animation to its audience, encouraging viewers to invest in the onscreen events. In an animated film, the audio operates like an echo of the physical world in an otherwise constructed landscape. The sonic space may be highly referential, resembling the sound of the natural world, or it might be ‘hermetic’ (Whitehead, 2002: 149), sonically detached from the natu- ral world with its own self-contained conditions.
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