![]() Almost all the dialogue takes place between three characters in the middle of the film, Dave, Frank and HAL, but the dialogue that does exist is rather memorable.įor all that the dialogue usage within the film is minimal, it is made to count for a great deal even managing some neat tricks with the dialogue. For the rest of the film the narrative is composed entirely of music, image and non-verbal sounds. The film’s duration is 149 minutes, yet only 40 of those are composed of dialogue, with the first line not being spoken until at least half an hour of the film has passed. In many ways, the indulgence and decadence of the soundscape, prepare audiences for the innovation and experimentation of the next decade. The film radically redefined the way that audiences and critics alike understood the interaction between image and music, and opened the door for the possibility that the whole soundscape – dialogue, effects, music – could do the same on a grander scale. The overall ‘vision’ of the sound and music as it combines with the visuals, is nonetheless recognisable as sound design. Although the term itself would not be coined for another eleven years in relation to Walter Murch’s work on Apocalypse Now and perhaps is nearer to the preceding term of sound montage. Perhaps best known for its exquisite juxtaposition of classical music and futuristic images, there is more to the soundscape of 2001: A Space Odyssey than the score.Ģ001: A Space Odyssey is arguably the first film to use sound design in the way that we understand it today. The last article originally written for and published on 01/06/09.
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