| Abstract | U svom pisanom diplomskom radu na temu ''Kako zvukom dočarati izmijenjena stanja svijesti na filmu'', definirat ću koja su to stanja, kako zvuk djeluje na gledateljevu percepciju analizirajući scene iz filmova u kojima lik doživi transformaciju svijesti te ću pojasniti kako je to dočarano zvukom, koliko dobro dizajneri zvuka mogu takav trenutak i stanje opisati zvukom da gledatelj to tako i shvati. Koristit ću se primjerima iz ovih filmova: Pitanje života i smrti, Michael Powell i Emeric Pressburger, 1946., 8 1\2, Federico Fellini, 1963., Strah i prijezir u Las Vegasu, Terry Gilliam, 1998., Klub boraca, David Fincher, 1999., Harry Potter i princ miješane krvi, David Yates, 2009., Ulaz u prazninu, Gaspar Noé, 2009. |
| Abstract (english) | In my written graduate thesis on the subject "How to make the sound for transformed consciousness in the film", I will define different states of consciousness, how sound reacts in changed state to the perception of the viewer, and apply it to films dealing with the transformed states of consciousness and how that sound is made. I will deal with the moment in a movie when the character falls into the altered state of consciousness and how it is defined by sound, and how good sound designers can describe that moment and altered state, with the sound that the viewer perceives. What makes that sound image, its physical value and perceptive response, how much manipulation is needed to make the scene with an altered state of mind. I will use these films for examples: A matter of life and death, Michael Powell, Emeric Pressburger, 1946., 8 1\2, Federico Fellini, 1963.,Fear and loathing in Las Vegas, Terry Gilliam, 1998., Fight Club, David Fincher, 1999., Harry Potter and the Half-Blood Prince, David Yates, 2009., Enter the void, Gaspar Noé, 2009. |
