Ingmar Bergman and Jacques Tati: Pushing the boundaries between sound and silence

Despite suffering from the after-effects of both World Wars and competition with music halls, mime, and theatre, film as a medium still managed to become the most prevalent form of mass entertainment. This could be due to the combination of many art forms, from visual, storytelling, or musical ones, as film somehow possesses hypnotizing dreamlike qualities. A thorough analysis of the challenges the art form of sound design has faced highlights the manner in which the visual medium of film, and that of aural sound design, have become entwined. Ingmar Bergman and Jacques Tati pushed the boundaries of the use of sound and silence in their film careers, forming a foundation for other directors’ and sound designers’ later work. A concern arises when modern artists make uninformed sound design decisions, replicating unpleasant results. When artists duplicate what has already been achieved before, innovation is stifled. An exploration of the fascinating ways in which these auteurs used their artistic skills, experience, and passions in the film medium, helps us understand the direction in which sound and silence has continued to prosper at present, showing us new opportunities to aim for in the future. The use of sound and silence is thematically explored, including such categories as pitch, timbre and volume that fall within the parameters of how sound is combined with editing, how sound influences audience perceptions, how diegetic and nondiegetic sounds are used to enhance narratives, and how sound leads, illuminates or creates expectations, contradicts or fosters ambiguities, and gives value to silence, while detailing both Tati and Bergman’s innovations in sound design. Topics explored include the Influence of Sound, Sound Fundamentals, Altering and Combinations, Sound Functions, Sound Forms and the Dimensions of Film Sound, and other discussions of elements pertaining to these points. Both Tati’s and Bergman’s lived experiences, histories, and consequent lessons learned from their creative processes, influence the finality of their work. Using David Bordwell and Kristin Thompson’s multidimensional study of film sound as a format of sound analysis, this research attempts to produce a clearer understanding of the relationship between the aforementioned directors’ personal and professional selves, and the methods they employed to influence and augment audiences’ perceptions (359). Tati’s Monsieur Hulot’s Holiday (Les Vacances de Monsieur Hulot 1953), Mon Oncle (1958), Playtime (1967) and Trafic (1971) are analysed, highlighting his unique use of sound maximalisation. Bergman’s The Seventh Seal (Det Sjunde Inseglet 1957), Wild Strawberries (Smultronstället 1957), Persona (1966) and Cries and Whispers (Viskningar Och Rop 1972) highlight his original use of sound minimalism. Modern film making processes should reflect upon Bergman and Tati’s great directorial decisions regarding sound, allowing for a well-informed interrogation of modern use of sound. These masters continue to inspire originality by setting a high bar of artistic achievement in film sound