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Sound-‐Design in Der Vorproduktion

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Sound-‐Design in Der Vorproduktion SOUND-DESIGN IN DER VORPRODUKTION Wie das narrative Potential des Sound-Designs im Film voll ausgeschöpft werden kann Masterarbeit im Studiengang Elektronische Medien Hochschule der Medien Stuttgart vorgelegt von Jonathan Pauli, Matrikelnummer: 21155 am 30.05.2011 Erstprüfer: Prof. Oliver Curdt Zweitprüfer: Prof. Thomas Görne ERKLÄRUNG Hiermit erkläre ich, dass ich die vorliegende Masterarbeit selbstständig und ohne fremde Hilfe verfasst habe und keine anderen als die angegebenen Quellen und Hilfsmittel verwendet habe. Zitate anderer Autoren habe ich deutlich als solche gekennzeichnet. Diese Arbeit wurde in dieser oder ähnlicher Form noch keiner Prüfungskommission vorgelegt. Stuttgart, den 30.05.2011 Jonathan Pauli ii ABSTRACT Da vielen Filmschaffenden das narrative Potential des Sound-Designs im Film nicht bekannt ist, wird es nur selten als gleichberechtigte Erzählinstanz neben dem Bild angesehen. Diese Masterarbeit arbeitet das narrative Potential des Sound-Designs heraus und zeigt, wie es ausgeschöpft werden kann, indem der Sound-Designer frühzeitig in die Vorproduktionsphase eines Films einbezogen wird. So wird der etablierte Postproduktions-Workflow in Frage gestellt und ein verändertes Vorgehen innerhalb der Vorproduktion vorgeschlagen: In dieser produziert der Sound-Designer, nach ausführlicher Analyse des Drehbuchs, eine Vorvertonung, für die der Begriff Preaudibilisation eingeführt wird. Anhand der praktischen Anwendung der Überlegungen wird gezeigt, dass auf diese Weise das narrative Potential des Sound-Designs voll ausgeschöpft werden kann. iii INHALTSVERZEICHNIS 1. EINLEITUNG ...............................................................................................................................................................................1 2. GRUNDLAGEN............................................................................................................................................................................4 2.1 Der Begriff Sound-Design ......................................................................................................................................................................................... 4 2.1.1 Definition....................................................................................................................................................................................................................................................4 2.1.2 Theoretische Überlegungen zu Sound-Design .....................................................................................................................................................................................5 2.2 Systematisierung........................................................................................................................................................................................................ 7 2.2.1 Systematisierung der Elemente des Filmtons .......................................................................................................................................................................................8 2.2.2 Systematisierung nach Chion...................................................................................................................................................................................................................9 2.2.3 Systematisierung der Gestaltungsprinzipien........................................................................................................................................................................................10 2.2.4 Systematisierung der Wirkung...............................................................................................................................................................................................................10 2.3 Zwischenfazit............................................................................................................................................................................................................12 3. DAS NARRATIVE POTENTIAL DES SOUND-DESIGNS................................................................................................................... 13 3.1 Aspekte der Wahrnehmungspsychologie .................................................................................................................................................................13 3.1.1 Wirkung von Frequenzen.......................................................................................................................................................................................................................14 3.1.2 Wirkung von großer Lautstärke und Stille .........................................................................................................................................................................................17 3.2 Narrative Funktionen des Sound-Designs...............................................................................................................................................................20 3.2.1 Auditive Szenografie ...............................................................................................................................................................................................................................20 3.2.2 Charakterisierung auditiver Elemente ..................................................................................................................................................................................................23 3.2.3 Subjektivierung ........................................................................................................................................................................................................................................26 3.2.4 Verhältnis zwischen Bild und Ton .......................................................................................................................................................................................................31 3.2.5 Musikalisierung der Tonspur.................................................................................................................................................................................................................34 3.3 Zwischenfazit............................................................................................................................................................................................................36 iv 4. VOM DREHBUCH ZUM SOUND-DESIGN.................................................................................................................................... 37 4.1. Analyse der Handlung und der Struktur .................................................................................................................................................................38 4.2 Analyse der Figuren..................................................................................................................................................................................................40 4.3 Analyse der filmischen Orte ....................................................................................................................................................................................42 4.4 Analyse der Klangobjekte ........................................................................................................................................................................................44 4.4.1 Semantik erster Ordnung .......................................................................................................................................................................................................................44 4.4.2 Dramaturgische Klangobjekte...............................................................................................................................................................................................................46 4.4.3 Semantik höherer Ordnung ...................................................................................................................................................................................................................48 4.5 Zwischenfazit............................................................................................................................................................................................................53 5. WORKFLOW............................................................................................................................................................................. 54 5.1 Einleitung .................................................................................................................................................................................................................54 5.2 Die Spotting-Session vor dem Dreh .........................................................................................................................................................................57 5.3 Partitur der Tonspur.................................................................................................................................................................................................59 5.4 Preaudibilisation.......................................................................................................................................................................................................60
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