SOUND DESIGN AS AN ARTISTIC AND TECHNOLOGICAL PHENOMENON: CINEMA, THEATRE, VIDEO GAMES
DOI:
https://doi.org/10.32782/facs-2025-5-17Keywords:
sound design, interactive audio, theatrical sound, cinema, video games, sound designerAbstract
The article proposes an integrated conceptual model of sound design as an artistic and technological phenomenon of contemporary audiovisual arts, developed through an intermedia comparative analysis of cinema, theatre, and video games. In this model, cinema is presented as the normative framework of sound design, systematizing the fundamental principles of sound organization: regulation of the physical parameters of the signal; spatial modeling; temporal organization and editing; mixing hierarchy; modes of realism; semantic and symbolic codes; psychoacoustic effects. At the same time, theatre is interpreted as the art of acoustic modeling of presence, where the integration of technology, the acoustic characteristics of the space, the actor’s physical embodiment, and the audience’s perceptual psychology ensures audiovisual plausibility of the “here and now”. Video games are considered as an environment of algorithmically controlled parametric audio systems that respond in real time to the player’s actions, perform instructional and navigational functions, and structure the emotional landscape. The generalization of these media-specific modes makes it possible to state the transformation of the sound designer’s professional role – from a technical specialist to a co-creator of dramaturgy and an architect of perceptual experience. The aim of the article is to construct an integrated conceptual model of sound design as an artistic and technological phenomenon of contemporary audiovisual arts, based on a comparative analysis of sound in cinema, theatre, and video games. The research methodology is based on systemic and intermedial approaches, which make it possible to consider sound design as an integrated system for organizing auditory experience across different media and to compare the specific modes of its implementation. The following methods were applied: comparative, structural-functional, semiotic, acoustic-technical, analytical, and the method of theoretical generalization. The scientific novelty lies in the proposed comprehensive conceptual model of sound design as an artistic and technological phenomenon, constructed through an intermedial comparative analysis of cinema, theatre, and video games. Within this model, the fundamental principles of sound organization are formulated and systematized.
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