Global News: An Auditory Space.

Making an interesting sound recording which can grab the listeners attention with only using their hearing sense is a difficult task.  Within a group today we published a spoof recording of a news report for the class to peer review. Using the theme of news readers, myself and two others recorded a topical news report on Audacity.

This fun, hands on learning tool allows the learner to record themselves along with other sounds relevant to the theme that the learner has chosen.

This requires many skills including team work, communication, organisation and it also builds confidence.  During the lesson there was a learning buzz with laughter and team discussion as each individual organised and got into character.

On reflection of this activity I was interested to research further how sound in animation can change a viewers perspective of a character.  During our attempt at becoming newsreaders we instinctively changed our personas to become the characters that we were playing.  We became professional, clearly spoken with a tone replicated from what we hear of newsreaders on the television and radio attempting to make our characters credible.  This has made me realise that sound has a profound affect on the listener.

Collins (2013) explains how the use of sound in film and animation influences Identification, and Psychological Role-Play, where we understand, empathise and feel that we become the character on screen, in equal extent as the visual aspects of film and animation. The author argues that especially within animation, sound brings reality and credibility to the animation allowing the viewer to identify strongly with the characters.  The visual representation is also argued not to be the only space where a viewer identifies and experiences the story, but auditory space is as important when representing a the stories and characters of film. However, sound must be organised in a way that a camera would be and is a scientific process of auditory space.  Cleverly, sound, can create difference in scenes by using placement of microphone and speaker set up allowing a sense of distance, to make the viewer turn to view another aspect of the film, to create mood and develop auditory proxemics: volume to create empathy and identification.

Sound in film is a scientific and technical process that surprisingly has many strands. In the case of our topical news, many of the aspects of auditory experience were intuitive, however on reflection many of the different components that Collins (2013) argues could have been used to improve the quality and deliverance of our Global News coverage.

 

The Importance of Sound

'[Sound] is a magical thing...it is the thing that can add so much emotion...it's a thing that can add all the mood...It sets the tone...'         

 David Lynch

Silence can arouse emotion in itself, it can feel peaceful, mournful, lonely, moody or sinister, but in film can it mean the same thing?  If you have ever tried to watch something without the sound it can be quite boring and meaningless.  Sound in film, as David Lynch film producer states, can be 100% of the film itself.  Sound relays meaning and mood, giving the viewer a feel for the situation the film is portraying.  Reflecting on this I was reminded of the famous Alfred Hitchcock's Psycho shower scene.  This 1960's classic horror is filmed in black and white, a far cry from modern HD high specification colour films.  However this film is iconic and a perfect example of how sound sets a mood and conveys the emotion of a character.  Try watching the scene without the sound first, then watch it again with the sound, you can see and hear that the appropriate sound makes a tremendous difference to the film.







 

Knowles-Marshall for Film Sound lists three different types of sound that is used in film.

   

1. Voice

Voice adds personality and expression to film.  It can transfer feelings such as fear, hate, love, comedy or simply give dialogue to tell a story. 

2. Sound Effects

Synchronous sound effects will allow the viewer to hear a door opening while watching a door opening of footsteps crunching through autumnal leaves. Asynchronous sound is added to increase emotion or add a touch of realism to a scene.  For example the sound of cars beeping their horns could connote a sense of urgency and also give a realistic view of time of day.

2. Music

Music in film is not normally noticeable but can add mood and emotion to scenes. It can also be used to link different scenes together or be used to recognise the oncoming of danger or happiness.  Music can also be linked to a particular character or area of the set for instant recognition for the viewer.

 

Similarly, in animation sound is used to connote actions, emotions and pace within the story which makes the animation come to life.

Animation for Learning

There is no denying that visual technology can engross a person so much so that person were asked to repeat what they have watched a detailed description is often verbalised back.  Nonetheless, when it comes to learning, do visual spaces really help a learner and develop their thinking skills and deepen their knowledge?

Animation in learning could be regarded a dyadic genre of learning. Firstly, the making of an animation through either manipulation or computer programmes such as Zu3D can develop a multitude of essential skills.  Secondly, viewing animation as a learning tool to explain domain specific information can enhance the learners ability to understand more deeply than when explained verbally.

Learning through Making.

In this fast moving, technological world, children remain to develop the same basic skills but in a more current and up to date way. Making stop-motion animation draws and develops many skills in the learner.  To begin with an idea has to be thought, then discussed with a learning group, developing communication skills and tolerance, or thought through by the individual.  As animation is regarded a mechanism to tell a story, a story board must be developed to organise these thoughts and ideas using organisation and literacy skills using higher order thinking. Then with the manipulation of material that is used for the animation fine motor skills are developed. Finally photographing each frame and developing sound encourages tolerance and patience along with motor skills.

 

Lowe (2003) argues that manipulation of materials to form stop-motion animation fosters a deeper learning experience than computer animation.  However computer animation through Go!Animate and Scratch as a growing teaching resource are said to provide rich learning experiences for children in topics ranging from language through to history and mathematics.  So the 21st Century educator cannot ignore growing technological educational tool to stimulate the modern learner.

To allow me to experience of model making for animation we were given the opportunity to produce a clay model from scratch.  With modelling clay I made a man.

During this process we were advised to model our characters from one ball of modelling clay as to prevent limbs from detaching when moving them.  I began with the head and moved onto the body.  The thought process was stimulating my own higher order thinking skills as I thought deeply to analyse and evaluate my actions.  I had to think about body shape, proportion, weight distribution for balance and strength for the durability of my model.  Then the smaller details had to be moulded, the nose, mouth and eyes for example took patience and fine motor skills. The whole process was deeply thoughtful as well as a creative learning experience which is transferable to any learning environment with any age group.

However, it is not only modelling that can be used in animation for learning.  Any materials can be used such as paper, cloth or even the learners themselves as seen in this Children's FLY! workshop production.



An example of children working together to create stop-motion animation

Learning through Watching.

It is argued that watching animation as a tool for learning can be complex and it is important that certain criteria are met so that it benefits the learning process. Lowe (2003) explains that for a learner to benefit from watching animation it must be designed specifically to meet the domains learning criteria. Then the animation itself must not have too much going on as it is possible the learner will focus their attentions on an area which is not relevant. It is also important that the learner can extract the information and organise this information cognitively within areas of already conceptualised knowledge.  For this to work, the learner must have some knowledge of the subject before they view any form of visual learning tool. If the learner, for example has no knowledge that a ball bounces up and down and they view a visual learning tool that explains to them a ball bounces from side to side, the learner will internalise this misconception. It is also explained that any intrinsic, form, or extrinsic positional transformations must be relevant to the subject domain or those changes could cause misconceptions.  However, these forms of change within an animation can enhance the learning if contrasted to the background giving the learners eye direction.  Ainsworth (2008) adds to this by explaining the importance of segmenting animation; the learner has control over the viewing experience.

It also important to recognise, as Ploetzner and Schlag (2013) explain, cognitive theory of multimedia learning developed by Richard Mayer in 2001.  Mayer theorises that the working brain can become overloaded with information so it is important for teaching professionals to organise their animation for learning in a way that can optimise the students learning experience and internalisation of maximum knowledge.

 

Nonetheless, if these criteria are successfully met Lowe (2003) argues that using animations to explain subject matter does in fact aid learning allowing a fruitful and enjoyable learning experience for the student.