Aurality

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According to Tobias Kurwinkel and Philipp Schmerheim, the term aurality is used to describe the effects of the film in which auditory elements directed at the sense of hearing play a role in guiding reception in interaction with visual elements. The aurality is a phenomenon that is predominantly found in films for children and young people . Orientation towards the aurals is therefore the focus of the cross-expression child and youth film analysis . Aural structural and design elements go beyond the purely auditory dimension of the film and, in addition to film music , noises and dialogues, also mean “rhythmic entanglements of image and sound, camera and figure movement, the 'metrics' of montage , 'musicalized' montage structures or narrative structures that are based on the structure of pieces of music . "

Childlike film reception

The orientation on the aurals as the starting point for a recipient-oriented analysis of children and young people's films is based on the assumption that the sense of hearing dominates the children's film reception. Developmental psychological studies suggest this. Since the visual lines of perception are not fully developed until around the age of ten, hearing takes on a central role in perception until then. This is already functional in the prenatal stage. Films are perceived by children and young people in an emotional and experience-oriented manner:

“Children not only see a film, they hear, feel, and simply experience a film. [...] The sense of hearing plays a special role in children's perception of television films. Noises, tones and music are perceived (not only by children) in a less distant manner than optical stimuli. "

Thus, film perception also runs through “emotional-competent hearing”, whereby not only is heard with the ears, but the sound waves are also felt through skin and bones.

Dominance relationships of image and sound

“Sound in film can be defined as an organized form of sound events. A distinction is made between noises (background noises such as street noise, the clatter of shoes, the rush of water, etc.), mono or dialogues and music (diegetic music and non-diegetic score). Their synthesis results in the soundscape or 'soundscape' of the film, which is also referred to as the soundtrack among sound engineers. "

The visually conveyed stimuli of the film's image can be understood as an organized representation of movement:

"The movement of the (actual or implied) camera in the film space, the movements of figures and objects in this camera-mediated film space, the proper movement of the camera-mediated film space and the cuts between individual image settings are organized."

The montage of the film results from the sequence and coexistence of all elements of the image and sound track and organizes the aurality. Image and sound enter into different dominance relationships in the film. In addition to an equal reference between image and sound, the design of the image elements can control that of the sound elements, for example in silent film screenings with improvised live music. Conversely, elements of the sound track can control those of the picture track. This is the case, for example, in music videos or concert recordings , but also in cartoons and animation films , in which the film music is composed first in order to be able to match the image elements precisely to the music afterwards. The differentiation of the dominance relationships does not have to apply to an entire film, but can be different for individual sections. In this regard, a distinction can be made between degrees of intensity of the aurality: We speak of weak aurality when the sound track is synchronized with only one movement category of the image track. An example of this is a film character who walks through an otherwise static setting while singing a song . On the other hand, there is strong aurality when the soundtrack is synchronized with more than one movement category (e.g. camera and figure movement).

Functions of aurality

Like the film music or certain camera settings, the aurality also takes on various functions for the film and its reception. Based on Claudia Bullerjahn's categorization of the film music functions, a distinction is made between narrative, structural, dramaturgical and immersive functions for aurality. All functions can be examined separately, but appear interwoven in the film.

Narrative functions

If a film is understood as a narrative text, it is expected from its narrative that a state A - assuming the location and duration - is changed to a state B by the action (s) of one or more characters. The action, as a sequence of events (histoire), is presented by a sequence of signs (discours). The narrative functions of aurality relate to this level of the sequence of characters when narrative components ( motif , material, theme ) or narrative means ( narrative perspective , focussing ) are synchronized with the soundtrack. For example, there is a narrative function when the change in focus is accompanied by a change in the musical structure.

Dramaturgical functions

Dramaturgy is also part of the discours level . Aurality assumes dramaturgical functions when it correlates with the film's act structure or its plot points (according to screenwriter and theoretician Syd Field). The latter represent important fixed and turning points in the course of a film, which can be particularly emphasized by aural design means.

Structural functions

The interplay of image and sound tracks can also be examined and systematically described independently of their use for dramaturgical and narrative purposes. Bullerjahn assigns the structural function of the film music to tasks such as: covering up and emphasizing cuts, accentuating certain settings and integrating images as a task to facilitate perception. Bullerjahn also shows that Zofia Lissa and Norbert Jürgen Schneider attributed a form-building factor to the music in the film, or that the music can mark a formal skeleton through title and trailer music. The structural function of aurality includes these tasks of the music, but also refers to the fact that specific patterns can be developed in the interplay of image and sound levels in the film. These can give structure to the respective film and be analyzed accordingly.

Immersive functions

"If the interplay between visual and auditory elements is primarily used to achieve certain effects on the recipients and, as it were, to draw them into the film plot, this affects the immersive functions of the film text."

The claim to reality of fictional texts is not to make the recipient believable that the events depicted actually existed. Rather, the presented fictional world with all its characters and laws should be presented so coherently that it is easy for the recipient to immerse himself in it and thereby accept the film text as a possibility within the reality inherent in the film. Immersive effects serve to identify with film events and characters as well as to cheer in certain situations. Aurality is immersive, for example, when the patter of a horse race is combined with dynamic editing techniques and the rhythm of a running horse is integrated into the film music. This makes it easier for the recipient to immerse himself in the depicted situation and lets him get excited about the story of the film.

literature

  • Claudia Bullerjahn: Basics of the effect of film music. Wissner, Augsburg 2001. ISBN 3-89639-230-1 .
  • Tobias Kurwinkel, Philipp Schmerheim, Annika Kurwinkel (eds.): Astrid Lindgren's films. Aurality and film experience in children's and youth films. Königshausen & Neumann, Würzburg 2012, ISBN 978-3-8260-4467-0
  • Tobias Kurwinkel, Philipp Schmerheim: Children and youth film analysis. Konstanz 2013: UTB, ISBN 978-3825238858
  • Stiftung Medienkompetenz Forum Südwest (ed.): Medienkompetenz und Jugendschutz II: How do cinema films affect children? Wiesbaden 2004
  • Jan-Uwe Rogge: Children can watch TV. From the sensible use of the medium. Orig. Reinbek near Hamburg 1990: Rowohlt (rororo, 8598), ISBN 3 499 18598 9
  • Manfred Spitzer: Music in the head. Listening, making music, understanding and experiencing in the neural network. Stuttgart [u. a.] 2009: Schattauer, ISBN 978-3794524273
  • Isabell Tatsch: Film perception and film experience of children. In: Petra Josting and Klaus Maiwald (eds.): Filmed children's literature. Genres, production, distribution, reception and models for German lessons. Munich 2010, Kopaed (Kjl & m extra, [20] 10), pp. 143–153, ISBN 978-3867361095

Web links

Individual evidence

  1. ^ Kurwinkel, Tobias; Schmerheim, Philipp: Aurality. In: Lexicon of film terms. Online at: http://filmlexikon.uni-kiel.de/index.php?action=lexikon&tag=det&id=8496 . Last checked on July 8, 2014
  2. ^ Kurwinkel, Tobias; Schmerheim, Philipp (2013): Children and Youth Film Analysis. Constance: UTB (UTB, 3885).
  3. ^ Kurwinkel, Tobias; Schmerheim, Philipp (2011): Aurality and film experience. A recipient-oriented approach to the cross-expression analysis of children's and youth films. In: Tobias Kurwinkel, Philipp Schmerheim and Annika Kurwinkel (eds.): Astrid Lindgren's films. Aurality and film experience in children's and youth films. Würzburg: Königshausen u. Neumann (children's and youth literature intermedial, 1). P. 20.
  4. ↑ Cf. Draganski, Bogdan; Thelen, Antonia (2012): Ontogenesis and plasticity of the brain. In: Wolfgang Schneider and Ulman Lindenberger (eds.): Developmental Psychology. [with online materials]. 7th edition. Weinheim, Basel: Beltz, pp. 117-134. S. 131. and Rogge, Jan-Uwe (1990): Children can watch television. From the sensible use of the medium. Orig. Reinbek near Hamburg: Rowohlt (rororo, 8598). P. 24.
  5. ↑ See Spitzer, Manfred (2009): Music in the head. Listening, making music, understanding and experiencing in the neural network. Stuttgart [u. a.]: Schattauer. P. 156.
  6. ↑ Tatsch, Isabell (2010): Film perception and film experience of children. In: Petra Josting and Klaus Maiwald (eds.): Filmed children's literature. Genres, production, distribution, reception and models for German lessons. Munich: Kopaed (Kjl & m extra, [20] 10), pp. 143–153. Pp. 148-150. And: Stiftung Medienkompetenz Forum Südwest (MKFS) (ed.) (2004): Medienkompetenz und Jugendschutz II: How do cinema films affect children? Wiesbaden. P. 29.
  7. ↑ Rogge, Jan-Uwe (1990): Children can watch television. From the sensible use of the medium. Orig. Reinbek near Hamburg: Rowohlt (rororo, 8598). P. 24.
  8. ↑ Rogge, Jan-Uwe (1990): Children can watch television. From the sensible use of the medium. Orig. Reinbek near Hamburg: Rowohlt (rororo, 8598). P. 24.
  9. ↑ Cf. Furgber, Michaele (2002): Auditory Perception Differentiation by Listening to Music in Movement - A Contribution to the Childhood of Musicians in Musically Moving Primary School Lessons. Vineyard. P. 97.
  10. ^ Kurwinkel, Tobias; Schmerheim, Philipp: Aurality. In: Lexicon of film terms. Online at: http://filmlexikon.uni-kiel.de/index.php?action=lexikon&tag=det&id=8496 . Last checked on July 8, 2014.
  11. ^ Kurwinkel, Tobias; Schmerheim, Philipp (2014): Aurality. In: Lexicon of children's and youth films in the cinema, on television and on video. Edited by Horst Schäfer. Part 6: Genre, Topics and Aspects. 45. Supplementary delivery. Meitingen: Corian publishing house.
  12. ↑ See Brocksch, Franziska (2007): The Sound of Disney. Soundtrack in selected Walt Disney cartoons. Marburg: Tectum-Verlag 2012, p. 27. And: Heiligenthal, Britta: Animated music. In: Griesenfeld, Günter; Koebner, Thomas (Ed.): Moment. Marburg and Mainz booklets for media studies, booklet 35. Marburg: Schüren Verlag.
  13. ↑ This chapter refers to Kurwinkel, Tobias; Schmerheim, Philipp (2014): Aurality. In: Lexicon of children's and youth films in the cinema, on television and on video. Edited by Horst Schäfer. Part 6: Genre, Topics and Aspects. 45. Supplementary delivery. Meitingen: Corian publishing house.
  14. ↑ Bullerjahn, Claudia (2001): Basics of the effect of film music. Forum Musikpädagogik Volume 43, series Wißner-Lehrbuch, Volume 5. Augsburg: Wißner-Verlag.
  15. ↑ Cf. Vogt, Jochen (2008): Invitation to Literary Studies. 6th, expanded and updated edition. Paderborn: Fink. P. 117.
  16. ↑ Cf. Bullerjahn, Claudia (2001): Fundamentals of the Effect of Film Music. Forum Musikpädagogik Volume 43, series Wißner-Lehrbuch, Volume 5. Augsburg: Wißner-Verlag. Pp. 71-72.
  17. ^ Kurwinkel, Tobias; Schmerheim, Philipp (2014): Aurality. In: Lexicon of children's and youth films in the cinema, on television and on video. Edited by Horst Schäfer. Part 6: Genre, Topics and Aspects. 45. Supplementary delivery. Meitingen: Corian publishing house.