Worlds, whether real or imagined, are not only of sight, but also of sound. But there is a critical missing element in this process. Tremendous energy and creativity is poured into storyboards and animatics, backgrounds and character design. When we think of “imagination,” we think of images, and about how we can create this new world in a visual manner. When it comes to developing these ideas, great care is given to the “visualization” of these new worlds. These imagined settings, characters and plots comprise the backdrop for new stories or re-imaginings of existing fables and socio-cultural themes. The potential is there to produce the physically impossible and the otherworldly. As such, animation is liberated from the physical and logistical restrictions of developing and reproducing physical objects and events in space.
#ANOMATION SOUND REFERENCE TV#
The raw materials of a film or TV show recorded on production are captured within actual spaces the raw materials of animation come from the mind. Its stories often take place in completely imagined worlds. (1) Storytellers may reference reality, but aside from rotoscoping techniques, there are no actual settings, no sound stages or green-screen sets, and no actors. Animation begins without physicality in its creative process. No matter how much the ideas exist in the mind, the external world, and all its inhabitants, must eventually be shot on location or in a studio. Other audiovisual forms such as film and television, by contrast, always have physical substances, specific worlds, and corporeality as their base components. The Sonic Lifeworld: A Phenomenological Exploration of the Imaginative Potential of Animation Sound -Īnimation is unique among audiovisual arts in that its stories are created entirely from the imagination. I propose new ways of thinking about the sonic connection of character to lifeworld, and in the process offer a critique of prevailing notions of film theory as related to the hearing and listening subject. Sound design should instead be conceived phenomenologically, as modes of disclosure and nondisclosure to consciousness. The problem of sound design is that it is an exercise in satisfying modes of Cartesian dualism, which separates the outside world of extension from the inner world of consciousness. This paper argues for new ways of thinking about how sound might move beyond this strict adherence to the visual by going beyond the rational.
Sound, however, is grounded in everyday reality in order to legitimize our expectations of experiential logic and continuity. Much care is taken to render these worlds visibly in great detail. The wonder of animation lies in its ability to create entirely new worlds that exist only in the imagination.
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