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Box 1346 Ann Arbor, Ml 48106- 1346 The Dolby Era: Sound in Hollywood Cinema 1970-1995 Gianluca Sergi Ph.D. 2002 The Dolby Era Sound in Hollywood Cinema 1970-1995 Gianluca Sergi Sheffield Hallam University Ph.D. Abstract 2002 Historically the understanding and appreciation of cinema have been shaped by a bias towards the image. Consequently, film sound has received little attention: today we know very little about how sound works in the cinema, especially in contemporary terms. My particular concern is to provide a first substantial account of sound in contemporary Hollywood cinema. Since the arrival of Dolby technologies in the early 1970s, the seismic nature of the changes that have taken place in mainstream cinema are so pervasive as to suggest that we are indeed in a new ‘era’ of cinema, the Dolby era. This period in the history of cinema has been characterised by a variety of factors such as the emergence of a new generation of filmmakers as well as a new ‘kind’ of audience. The thesis investigates these changes and their implications within a historical framework that has its roots in the 1960s, exploded in the 1970s, and matured beyond expectations over the past two decades. The thesis is structured around an exploration of the central features and figures that have characterised the Dolby era. It includes an examination of the reasons behind the success of Ray Dolby and Dolby Laboratories, as well as an analysis of the impact that technological innovations in film sound have had on filmmaking practices and the industry at large. The thesis advocates a move towards closer dialogue and integration between the world of academia and that of practitioners by focussing specifically on professional practices through a series of interviews with leading Hollywood practitioners. Finally, the thesis proposes an original approach to some key areas of film studies, namely film audiences, film narrative construction and film analysis. UKiyx, ^ 5 \ e s \ s ^ ^Salter TABLE OF CONTENTS PART 1: FILM SOUND IN THE DOLBY ERA ............................................................ 3 Introduction: Sound matters..........................................................................................................3 Chapter 1: the Dolby phenomenon.............................................................................................10 The man behind the wheel: Ray Dolby..................................................................................... 14 The birth of an era: the origins of the Dolby Stereo system .................................................. 18 The winning formula: Dolby’s licensing and marketing policy ........................................... 21 Awaiting a champion: the need for ‘the right film’ ................................................................ 24 A match made in heaven: Star Wars and Dolby ......................................................................25 The rise of the ‘New Hollywood’ ...............................................................................................27 A sound architecture of change: the new world of sound in Star Wars ............................... 28 Dolby consolidates and expands .................................................................................................31 Digital Sound in the Dolby Era .......................................................................................33 Chapter 2: Critical receptions of sound .....................................................................................36 Two bodies of knowledge ............................................................................................................ 36 The sins of the fathers: the place of sound in film studies ..................................................... 39 The introductory book syndrome: sound as an afterthought .......................................... 41 A category of lack: sound as ‘incomplete’ ...............................................................................45 A more positive approach: sound as a creative force ............................................................. 50 The view from the trenches: filmmakers writing on sound ................................................... 54 A point in case: music in film and film music ................. 56 A false dichotomy: the ‘purist’ approach ................................................................................. 58 The dynamic duo: music score and music in film ...................................................................60 The need for a ‘medium specific’ approach .............................................................................65 PART 2: THE SOUND MAKERS: INTERVIEWS WITH THE CREATORS OF SOUND......................................................................................................................... 68 Chapter 3 - Gary Rydstrom.......................................................................................................... 71 Chapter 4 - Bruce Stambler........................................................... 88 Chapter 5 - Tom Holman........................................................................... 103 PART 3: REINSTATING THE AUDITORY DIMENSION TO CINEMA................. 114 Chapter 6: The role of sound in movie-making: the case of The Fugitive.................... 114 Making more of it’: sound as a primary force ........................................................................115 Maintaining space: sound and narrative space .......................................................................119 Genius is in the detail: the use of sound detailing ................................................................. 122 1 Chapter 7 - The Sonic Playground: Hollywood Cinema and its Listeners ...................125 We don’t hear eye to eye: experiencing films differently ....................................................126 Pleasures on offer, tasks to perform ......................................................................................... 127 Chaos in the hall: who is in charge of the soundtrack?........................................................ 131 The comfortably active spectator ..............................................................................................134 Chapter 8 - Tackling sound: suggestions for sound analysis ............................................. 137 For a more organic approach - Part One: a question of attitude .........................................141 For a more organic approach - Part Two: sound dynamics ................................................ 146 For a more organic approach - Part Three: No place ‘sounds’ like home (a few notes on Forrest Gump) .............................................................................................................................. 157 Conclusion ........................................................................................................................................162 TABLE OF FIGURES................................................................................................169 APPENDIXES.............................................................................................................172 1. Dolby Quality Assessment diagram .....................................................................................172