Silence of the Lambs Sound Analysis (Revised)

The Meta-Diegetic Sounds in “Silence of The Lambs”

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Introduction

Generating the multi-dimensional feeling that people look forward to when they watch movies is made possible by the use of sound, which creates an environment conducive to generating particular feelings. There is a distinction between diegetic sound and non-diegetic sound approaches in film audio production. Sounds that can be heard by both the audience and the characters are referred to as diegetic sound, and it is a vital aspect of the narrative space. The purpose of this paper is to analyze the metadiegetic sounds in the film the Silence of the Lambs.

Analysis of Metadiegetic Music in the Film Silence of the Lamb

There is a calm non-diegetic soundtrack of piano music playing at the commencement of the plot and throughout the first half of the film. This goes on while switching from one shot to the next, suggesting to the audience that the distinct shot is, in fact, within the same setting and with one mood CSONDRINI (, 2014). In order to indicate that the scenario is taking place in a jail cell, the tranquil music is played, which is in contrast to the environment and conveys that there is anxiety in the situation. The fact that the metadiegetic music sounds serene while the subject is seen inside the jail cell paintings may indicate that he derives serenity from his painting work. A menacing mood is created by the metadiegetic music, and the detainee’s mind is at ease due to the fact that he has devised a strategy that he is certain would be beneficial to him.

Metadiegetic sounds are sounds that can be termed as hallucinated or imagined by characters. They include all sounds effects used in the film to externalize the inner thoughts, wishes, dreams, nightmares, or hallucinations of a character. A majority of these metadiegetic sounds originate from the mind of the character. In the prison scene in 12:30-13:10, Clarice Starling first meeting with Hannibal Lecter has an eerie feeling. When Dr. Lecter asks Starling to move closer so that he can see her credentials over the prison glass, there is low humming sound that denotes fear, anxiety, and a spooky unnerving sound. It is subtle like a heartbeat and comes and goes as Starling converses with Dr. Lecter. This is an example of a metadiegetic sound. This is an imagined feeling that Starling is feeling. A hallucination of some sorts that allows the viewer to enter the mind of the character.

As the picture of the detainee is shown, the non-diegetic piano music becomes louder, indicating that this individual has a substantial presence inside the scenario. When the diegetic music is played, the viewer is forced to feel as though they are there, experiencing every small noise that is created. It also allows you to empathize with the detainee a little bit more since one is hearing whatever he would be hearing based on his location in the picture. Non-diegetic music is played while the firearms are being displayed, and it slows down significantly to provide the viewer with enough time to examine and concentrate on the weaponry.

It is the increasing tempo of the non-diegetic sound that creates suspense for the listener since it indicates that something major is going to take place and climaxes the sound. When the shackles are tightened around his wrists, this is quickly ended (Dykhoff, 2012). The identical sound could be heard earlier in the scenario when the cops were fastening the prisoner’s handcuffs, but now the officers’ vulnerability and power had been traded places with one another. This results in a sudden shift in the scene’s dynamic as well as an unsettling mood. Immediately after, a non-diegetic synchronous non-diegetic sound of abrupt low-intensity metadiegetic music is heard, which is subsequently merged with a shrieking violin sound. This blend of noises is a trope of the thriller genre that gives the viewer a hint as to what could happen in this scenario.

In addition, the cops’ cries of anguish compel the spectator to empathize with the protagonists as they try to survive. Each stroke of the thrashing is widely spread out in a beat in order to emphasize the brutality of each subsequent hit after another (Dykhoff, 2012). After the whippings have ended, the non-diegetic music begins to fade, revealing a thoroughly subjugated environment from the detainee to the officers. The metadiegetic music then returns to the quiet piano music at the start of the scene, restoring him to the peaceful frame of mind that he had at the start of the set.

Without the use of music or speech, sound effects are employed to enhance the overall atmosphere of the scene. They amplify the sounds and objects both on and off the screen. While the sound effects in The Silence of the Lambs are various, one of the most notable is the sound of the guards’ footfall before they are ever seen. This is the sound of jail bars being opened and closed repeatedly. There is a distinct technique in which sound effects are used to draw attention to little details such as keys or handcuffs in various scenes. In The Silence of the Lambs, the majority of the metadiegetic music is non-diegetic in nature and classically influenced. However, there are instances in which the music played is of a diegetic nature, such as when Dr Lecter murders a jail guard while listening to Bach on a tape recorder and Buffalo Bill dancing to Goodbye Horses, among other major scenes. Throughout the majority of the film, calm background music is played. It contributes to the creation of a stressful and uncomfortable environment. When the music is serious, it contributes to a sensation of being on the verge of your seat, which makes it easy to relate with films in the horror category.

If any of the other actors join the plot, the metadiegetic music is interrupted by the diegetic sound of a deliberate footfall, which demonstrates the power that these stars have over the original figure in the plot (Milicevic, 2016). Because of their authoritarian demeanour, the new two protagonists convey the perception that they are law enforcement officials. It is possible that the detainee has a more dominating personality than the other two since he is teaching and guiding them, as well as having an impact on their behaviour when he starts to talk; nevertheless, this is unlikely. It is important to note that the keys’ sound first and foremost: it confirms the earlier assumption of the scenario based on what the audience have previously seen of the detainee in a cage. In the cell, the keys and footfalls sound implies the ambience; any diegetic sound is substantial to the detainee because he generally has only the sound of what he has generated himself, and it implies that any form of sound that is associated with him having company, is prominent, which depicts the solitude that exists within that environment of the jail cell.

In the scene where Jodie enters a room and finds a decaying body in a bathtub, non-diegetic high-pitched chimes can be heard. Due to the fact that it is dissonant chords, and since the audience associates chiming and sensitive instruments with kid’s nursery rhymes, this intensifies the spooky mood. It also serves as an efficient technique of noting the passage of time and informing the viewers that they have found something new. Following the discovery of the corpse, the lighting in the area is abruptly turned off, and the diegetic rock music playing in the background is turned off too. There is no sound in the room since it is completely dark. In this situation, it is successful not to utilize sound since the viewers have no visual or auditory understanding of what is unfolding or is about to transpire in the set, which increases the level of suspense. Suddenly, high-pitched audio of the night-vision spectacles going on can be heard; the audio itself is artificial and strange, adding to the eerie mood created by the plot’s surroundings. At this time, the sound of water trickling and the wheezing of the main characters can be heard in the background. Because of the combination of these two diegetic aspects, the spectator is placed in a state of solitude and terror. In time with the main character’s movement around the area and progress through it, her panting grows heavier and quicker, which corresponds to the increasing tension in action. However, although she is moving at the same pace as before, her faster gasps accelerate the action and heighten the tension in the scenario.

Approximately 1:21 into the film, non-diegetic music begins to play, becoming louder as the murderer approaches the protagonist. Mozart’s soundtrack ‘Magic Flute’ and the usage of orchestral music is excellent in setting a dramatic tone for the action. The deep bass notes elicit a horrible mood, which is heightened when the murderer gets closer to the protagonist in the story (Milicevic, 2016). When the murderer stretches out with his hand to Jodie, the metadiegetic music becomes more dramatic. Since the perpetrator’s motions are sluggish and the scenario is emotionally powerful and dark, both physically and figuratively, the slow rhythm of the track is synchronized and concurrent to the events of the scene. When the murderer reaches within striking distance, higher-pitched string instruments start playing, creating a frantic atmosphere that replicates the nerve-wracking scenes before the coming confrontation between the hero and villain.

When the murderer draws a pistol from behind the protagonist at 1:46, the music stays consistent, and the instruments continue to play on the high notes they were on before. The anxiety is amplified and maintained as a result of this (Milicevic, 2021). Because of this, the murderer continues to cock the pistol, and at 1:51, the sounds of the firearms hammers cocking can be heard, which is extraordinarily loud and slowed down. This helps to sustain suspense and build-up to the climax since the viewers are compelled to slow down and realize the critical moment; it allows the point in time to sink in more deeply for them. This causes the viewers to get disoriented due to the obvious unexpected sound effects of gunfire when the heroine turns and discharges her pistol constantly. The bullets are shot at incredibly quick rates in comparison to the sluggish pace of the whole action, causing the audience to become disoriented. While aiming the rifle, the lead character blasts a window, and the diegetic sound of the pane shattering adds to the sense of chaos that pervades the scene. The main character drops to the floor and attempts to reload her pistol, at which time the audience hears the clanking bullet sounds hitting the floor (Görne, 2019). The diegetic sound of gunshots striking the ground provides insight into the protagonist’s emotional situation; she has dropped the munitions since she is astonished and terrified.

Conclusion

In the film, the use of sound was efficient in establishing an emotional link between the viewers and the actors via the employment of both non-diegetic and diegetic sound in variant scenes. The soundtracks that were employed assisted in conveying and emphasizing the mental and emotional condition of the actors. The noises that were utilized throughout the segment contributed to building the film’s thriller genre status. The diegetic sound effects generated by the computer emphasize all of the terrible aspects of the assault, causing the spectator to empathize with the people who are battling to survive while also conveying the sub-genre of the picture as a bloody-horror film. In addition, the policemen’ shouts of anguish compel the viewers to empathize with the protagonists as they try to save their lives on screen.

References

CSONDRINI (2014). Sound Techniques Used in The Silence of the Lambs (1991). Retrieved

8 December 2021, from https://csondrini.wordpress.com/2014/11/21/week-3-sound-techniques-used-in-the-silence-of-the-lambs-1991/

Dykhoff, K. (2012). Non-diegetic sound effects. The New Soundtrack, 2(2), 169-179.

Görne, T. (2019). The Emotional Impact of Sound: A Short Theory of Film Sound

Design. EPiC Series in Technology, 1, 17-30.

Milicevic, M. (2016). Oneiric Film Sound and Human Brain. European Scientific Journal.

Milicevic, M. (2021). Mladen Milicevic – Film Sound Beyond Reality. Retrieved 8 December

2021, from http://filmsound.org/articles/beyond.htm