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Manipulating Sound Fidelity for Clarity in Touch of Evil

by Paul Cote

In this clip, we see the way that sound can be manipulated for its emotional effect.  When Quinlin and Grandi are talking, the music from the bar downstairs is quiet and in the background.  When they stop talking, however, and Quinlin moves to attack and eventually strangle Grandi, the same piece of music abruptly gets much louder, as though it was actually in the room with the characters.  This abrupt shift in volume is not realistic, but it successfully emphasizes the horrific and claustrophobic sensation of the murder.

Manipulating Sound Fidelity for Clarity in Touch of Evil

by Paul Cote

In this clip, we see the way that sound can be manipulated for its emotional effect.  When Quinlin and Grandi are talking, the music from the bar downstairs is quiet and in the background.  When they stop talking, however, and Quinlin moves to attack and eventually strangle Grandi, the same piece of music abruptly gets much louder, as though it was actually in the room with the characters.  This abrupt shift in volume is not realistic, but it successfully emphasizes the horrific and claustrophobic sensation of the murder.

Manipulating Sound Fidelity for Dramatic Effect in Touch of Evil

This clip demonstrates the ways that auditory fidelity can be manipulated for dramatic effect in the film Touch of Evil.

from Touch of Evil (1958)
Creator: Orson Welles
Distributor: Universal
Posted by Paul Cote
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