By Max Winter
You can look away, but the sound of obsession will still bore into your brain.
What do we mean when we call a film “sensual”? Or “tactile”? Or “lush”? Or “rich”? Or “intense”? Normally, words like those are code for visual power: for deep, dramatic colors; for luxurious long shots; for blinding whites or suffocating darkness.
And yet what about the sound? We tend to notice when a soundtrack works or doesn’t work, but the ambient sound and its manipulations aren’t always called into account when we talk about a film’s merits. Daniel Crowley’s new video essay does just that, examining how Darren Aronofsky’s use of sound in films such as Pi and Black Swan makes a substantial difference in viewer experience—perhaps all the difference? Aronofsky, in fact, is exemplary in exploding background noises into metaphors, in ratcheting up the tension in a story by simply building on… what’s there.
From:: No Film School