Critical Analysis
Redesign
of the Soundtrack from the film Dune
by Shem Booth-Spain BA(Hons) MA
Download "To
Fold Space" AUDIO Remix of the
Dune
Soundtrack Here
Dune Remix "To Fold Space" by Shem
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Introduction
Set on the desert planet Arrakis, DUNE is the story of the boy Paul Atreides, who would become the mysterious man known as Muad’Dib. He would avenge the traitorous plot against his noble family—and would bring to fruition humankind’s most ancient and unattainable dream. A stunning blend of adventure and mysticism, environmentalism and politics, DUNE formed the basis of what is undoubtedly the grandest epic in science fiction |
Dune Film Soundtrack |
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This essay is a
critical analysis of the
soundtrack
for the film dune directed by David lynch, Ive attempted to remake the
soundtrack and remassemble the images and sound of a selected sequence.
With this also is a theoretical dis-assembalage that will explore the
notions surounding the
audio-visual contract in the film through the ideological apparatus and
concepts of Kowdo Eshun . The original scene im taking starts of with
house Atreides
leaving
there sea
home world caladan, the epic scene involves the vast space ships dock
the
mothership. The next sequence involves the ship beginning to fold space
creating stunning visual cascades; this vortex transports through the
fabric of space/time to
the planet dune,
the new homeworld for the race and beginning of a huge galactic war. |
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| "Where
crits of
cybercult still gather, 99% of them will lament the disembodiment of
the human
by technology. But the machines don’t distance you from your emotional,
in fact
quite the opposite. Sound machines make you feel more intensely, along
a
broader band of emotional spectra than ever before in the 20th
century."
More Brilliant than the Sun.
Kowdo Eshun p00 (002)
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The acoustic cyberspace formation of the remix track revolves around sounds of flight radio conversation that are overlade by Celtic war drums war dance of "Yanni". This juxtaposition of a futurist mechanical sound structure and natural highland music, force a contrast of cultural paradox between past and present sonically. This apparent contrast is an emotive empowering force which magnifies the feelings of importance, war dance, epic grandeur and powerful acoustic intensity of the scene. The feel throughout the piece conjures
emotions of
grand and
epic interest of importance. The music and sound reactivates the
importance of
the scene in relation to the rest of the film, as the scene
encapsulates the
crux of huge epic battle.The music in this piece portrays an empathic
quality in
which the sound follows the mood of the track, charging and reinforcing
the
emotive power. A matching tempo and warlike epic scene is both mirrored
and
reinforced by the sounds. Although at time’s the vision follows a
trajectory
the sound sometimes does not flow, this is an apparent attempt to form
a
relationship were the expected sound and harmony converge and separate.
The
sliding in and out of the feedback sounds that scratch the ear drawing
and
falling pulls the acoustic trajectory up and down following the Celtic
drumming
melodic line of orchestral symphony which tides the visual portion. |
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"A point of
synchronization, or synch point, is a salient moment of an audiovisual
sequence
during which a sound event and a visual event meet in synchrony. It is
a point
where the effect of synchresis is particularly prominent, rather like
an
accented chord in music."
Audio-vision chion p58 |
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| The cultural void
and distance between the sounds
used themselves
and the connotations associated create juxtaposition between Celtic
music and
future machinery. Throughout the piece the two lines meet a synch only
to
dissipate then reform as a conjunction of tension. At the main sequence
in
which the ship begins to fold space the sound begins to twist and jar
surmised
as Chions notion of internal logic in
which the sound is itself is coming from the narrative situation
itself. The
machinic sliding sounds and temporal fluxes only exemplify the elements
of
auditory setting were localized sounds are woven and prick the ear in
shots and
dagger like shard in intermittent bursts. These factors strengthen the
general
audio-visual contract of the work through aligning sound with the
visual aspect
creating a unified pact of agreement between the mediums in the viewer
subjectively. The sounds pan out expansively (particular at the end) in which the ships descend only to be not heard at all, raises the emotive power of a complete sonic attack on the senses as they folded space earlier in the sequence, now silence, quiet pads and white noise from radio create a synch point and expands the unsure and strangeness in the picture.This downward slowdown of the pace brings these feelings to the forefront in the viewer and listener. The bright sun, the sandy dunes and the dry barren rock all are married to the sounds of quiet unsure newness that this scene depicts. |
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Sound Track breakdown
Jet take offs and mechanical sounds sampled from UELs wood workshop and airport then highly compressed and processed on sonic foundry and acid pro. Final mastering done on logic pro for track compression and limiter and speaker allocation. |
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The Original
Soundtracks are from……… Brian Eno - Prophecy Theme Roger Eno - Prophecy Theme Daniel Lanois - Prophecy Theme Steve Lukather - as Toto David Paich - as Toto Marty Paich - additional music Jeff Porcaro - as Toto Mike Porcaro - as Toto Steve Porcaro - as Toto Joseph Williams - as Toto |
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BibliographySonic
boom,
Napstar P2P and the battle for the future of music. John Alderman 2001
Harper
Collins. Tutor for this
project: Dr Steve Goodman aka Kode9 Links "Dune Remix" VIDEO Here |
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