| dc.description.abstract | Klank vorm ’n integrale deel om die narratief van ’n rolprent te struktureer. Klank in hierdie verband dra nie net inligting oor nie, maar skep ook saam met beeld ’n bepaalde stemming. Dit geld veral vir klank wat as ekstra-diëgeties bestempel kan word. Anders gestel, ekstern aanvullende klank wat nie ontbeerlik vir die narratief is nie, maar noodsaaklik is om stemming en atmosfeer te skep. Ekstra-diëgetiese klank word as stemmingskepper in alle rolprente gebruik, narratief (fiktief) sowel as dokumentêr.
Dokumentêre rolprente word as genres of modusse onderskei op grond van stylkenmerke waarvan die model van Bill Nichols die bekendste is. Nichols se model-indeling is toegepas vir die ses bekroonde en ikoniese dokumentêre rolprent keuses vir hierdie studie-ontleding, naamlik SAMSARA (poëtiese modus), March of the Penguins (verklarende modus), Central Park (waarnemende modus), The Cove (deelnemende modus), Catfish: The Movie (refleksiewe modus), en Bowling for Columbine (performatiewe modus).
Hierdie studie het ondersoek ingestel na hoe die verskillende modusse ekstra-diëgetiese klank gebruik. Die resultate toon eerstens dat in die algeheel beskou, meer diëgetiese as ekstra-diëgetiese klank gebruik is. Dit beteken dat in die algeheel beskou, die klankbane meer uit dialoog/onderhoude, omgewingsklank, en aanbieding/vertelling bestaan. Tweedens is bevind dat ’n beduidende ooreenkoms tussen die stylkenmerke van die modus en die gebruik van klank bestaan. Prominente voorbeelde is SAMSARA wat oorwegend ekstra-diëgetiese musiek gebruik, Central Park wat geen ekstra-diëgetiese klank gebruik nie, en March of the Penguins wat die enigste van hierdie dokumentêre films is wat van ekstra-diëgetiese vertelling gebruik maak. Laastens is aangetoon dat ekstra-diëgetiese musiek, behalwe in die geval van Central Park, deur die rolprente gebruik word om stemming te skep. Sound forms an integral part in structuring the narrative of a film. In this regard, sound does not only convey information, but also creates a particular atmosphere with a specific mood. This is especially true in the case of extra-diegetic sound. Correspondingly, it can be explained as extra external sound that is not indispensable to the narrative, but is necessary to create mood and atmosphere. Extra-diegetic sound is utilised as the mood creator in all films, whether narrative (fiction) movies or documentaries.
Documentary films are distinguished as genres or modes based on style features of which the model of Bill Nichols is best kwown. Nichols' model format has been applied to select six award-winning and iconic documentary films for this study analysis, namely SAMSARA (poetic mode), March of the Penguins (expository mode), Central Park (observational mode), The Cove (participatory mode), Catfish: The Movie (reflexive mode), and Bowling for Columbine (performative mode).
This study has investigated how the different modes apply extra-diegetic sound. The results show first of all, that in general more diegetic sound than extra-diegetic sound are evident. This means that overall, soundtracks comprise more of dialogue and/or interviews, environmental sounds, and voice-over. Secondly, it was found that a significant similarity exists between the style features of a mode and the use of sound. Prominent examples include SAMSARA which uses predominantly extra-diegetic sound, Central Park that does not use extra-diegetic sound at all, and March of the Penguins which is the only of these documentary films that uses extra-diegetic voice-over. Finally, it has been shown that all documentary films, except in the case of Central Park, apply extra-diegetic music to create atmosphere or mood. | en_US |
