Sound and The Moving Image: Critical Characteristics for Spectator Response Student Researchers: Kara Rader, Rafeeq Roberts, Matthew Egizii, Jeffery Allen, Alex Farmer, David Goerz, Jordan Tobin, Kelly McCafferty, & Jonathan Herzberger Faculty Advisor: Dr. Kim Neuendorf Introduction: The prevailing wisdom in the film and video production industries is that audio information outweighs visual information when it comes to spectator responses, but there are few empirical studies to support this claim. In previous research, four critical characteristics of sound have been identified: Music type, image/sound contradictions, multi-channel sound, and sound quality. Most previous research has looked into the effects that music has on spectators of the moving image. These articles can be further narrowed down into the effects that were studied, including: Emotions, brain patterns, cognitive processing, and physiological responses. Researchers have also looked into multi-channel sound (e.g., surround sound), but they have rarely tested its effects upon spectators, focusing more often on technical quality and evaluations of different methodologies. Research into contradictory sound (i.e., sound that does not match the moving image content it accompanies) seems to be non- existent. We hope to further the research into these characteristics of sound through four different experiments. Multi-channel sound: Multi-channel sound includes stereo (two channels), Dolby Digital Surround Sound (5.1 channels) and other more advanced methods (e.g., 7.1, 10.2). We will test mono (one channel) against stereo and Dolby Digital Surround to test spectators’ reactions to our short film. Dependent variables will include: Recall, enjoyment, presence, and spatial perception (i.e., how big is the environment of the film they are watching, and where is the location of the source of the sound). Music: Building on our previous research, we have found that many researchers have looked into the question of how music affects emotions (Eschrich et al., 2008; Have, 2008; Konecni, 2008; etc.), but few have investigated how music affects spectators’ perception of a film. We will use an experimental design similar to that used by Bullerjahn and Guldenring (1994). We produced a 2.5-minute short film (“Chase Her”) in which the characters have ambiguous motivations. We will select background music that is representative of established genres (e.g., horror, spy, action, romance). We will then test spectator responses including recall, affective responses (i.e., emotions), and their interpretation of the film. Sound Quality: In our literature review, we were unable to find any empirical studies that tested spectator responses to sound quality in audio-visual stimuli. Using our original production (a reality- TV type episode, “Quadtopia”), we will show two groups two different versions of the same stimulus, one with professional-quality post- production sound and one with lower-quality “amateur” sound. We will then test the spectators’ responses via several variables including: Recall, presence (both social and spatial), and various affective evaluations (e.g., enjoyment, whether or not the production is deemed “professional”). “Contradictory” Sound: In our study, we define “contradictory” sound as sound that is inconsistent with audience expectations based on visual information. In film, “contradictory” sound is frequently used in an artistic way or for comedic (intended or not) effect. We produced a short film, titled “Chase Her,” for which the research team created post-production sound in our own new Foley studio (a room where a sound designer creates real-time sound effects for films). We recorded both consistent and contradictory sounds (e.g., we see someone running on concrete but hear him running on gravel). Using two groups of spectators, we will show one group the short film with “consistent” sound and the other the short film with “contradictory” sound, testing their responses with several measures including recall, enjoyment, presence, and whether they noticed the “contradictory” sound. :FR:AMES (Film Research: Advanced Methods for Empirical Study) School of Communication, Cleveland State University With Special Thanks to: Rick Pitchford, Emma Clark, and Steve Martin Selected References : Bullerjahn, C., & Guldenring, M. (1994). An empirical investigation of effects of film music using qualitative content analysis. Psychomusicology, 13, Eschrich, S., Munte, T. F., & Altenmuller, E. O. (2008). Unforgettable film music: The role of emotion in episodic long-term memory for music. BMC Neuroscience, 9(48), 1-7. Have, I. (2008). Background music and background feelings: Background music in audio- visual media. The Journal of Music and Meaning, 16, Konecni, V. J. (2008). Does music induce emotion? A theoretical and methodological analysis. Psychology of Aesthetics, Creativity and the Arts, 2(2),