Listening from behind the sofa?The (un)earthly roles of sound in BBC Wales' Doctor Who

TY - JOUR

T1 - Listening from behind the sofa?

T2 - The (un)earthly roles of sound in BBC Wales' Doctor Who

AU - Hills, Matthew

PY - 2011/3/1

Y1 - 2011/3/1

N2 - This paper analyses the use of sound in BBC Wales' Doctor Who (2005–). It argues that rather than offering a single, unified strategy for sound design, the show ‘sounds science fiction’ in multiple, over-determined ways. Firstly, it is suggested that sound functions as a marker of brand identity; this is particularly so since created science-fictional sounds lack naturalistic analogues. Indeed, the series has preserved ‘sonic stars’ from Doctor Who's earlier run (1963–89), using sound effects to affirm textual authenticity. Secondly, the paper considers how science-fictional ‘otherness’ and monstrosity are sonically constructed. It is suggested that the ‘acousmetre’ has been a crucial device. This enables sound to function as a narrative lure, withholding but promising monstrous televisuality, as well as providing SFX budgetary control. And the acousmetre plays a significant role in promotional paratexts; official trailers repeatedly feature monstrous sounds without televisually revealing the fantastic. However, Chion's definition of the acousmetre also requires some rethinking via the ‘gothic acousmetre’ which fantastically destabilizes voice–body correspondence. Finally, the paper considers how ‘ordinary’ sound frequently becomes uncanny in the series. ‘The sound of drums’, the ‘four knocks’ and voices in ‘Midnight’, have all become sonic markers of science-fictional otherness emerging through the everyday/familiar. Brand familiarity, alien otherness and uncanny oscillations between familiar/alien form the multiple, (un)earthly roles of sound in Doctor Who.

AB - This paper analyses the use of sound in BBC Wales' Doctor Who (2005–). It argues that rather than offering a single, unified strategy for sound design, the show ‘sounds science fiction’ in multiple, over-determined ways. Firstly, it is suggested that sound functions as a marker of brand identity; this is particularly so since created science-fictional sounds lack naturalistic analogues. Indeed, the series has preserved ‘sonic stars’ from Doctor Who's earlier run (1963–89), using sound effects to affirm textual authenticity. Secondly, the paper considers how science-fictional ‘otherness’ and monstrosity are sonically constructed. It is suggested that the ‘acousmetre’ has been a crucial device. This enables sound to function as a narrative lure, withholding but promising monstrous televisuality, as well as providing SFX budgetary control. And the acousmetre plays a significant role in promotional paratexts; official trailers repeatedly feature monstrous sounds without televisually revealing the fantastic. However, Chion's definition of the acousmetre also requires some rethinking via the ‘gothic acousmetre’ which fantastically destabilizes voice–body correspondence. Finally, the paper considers how ‘ordinary’ sound frequently becomes uncanny in the series. ‘The sound of drums’, the ‘four knocks’ and voices in ‘Midnight’, have all become sonic markers of science-fictional otherness emerging through the everyday/familiar. Brand familiarity, alien otherness and uncanny oscillations between familiar/alien form the multiple, (un)earthly roles of sound in Doctor Who.

KW - Doctor Who

KW - monstrosity

KW - branding

KW - sound design

KW - acousmetre

KW - Michael Chion

UR - http://hdl.handle.net/2160/35848

U2 - 10.1080/17400309.2011.521716

DO - 10.1080/17400309.2011.521716

M3 - Article

VL - 9

SP - 28

EP - 41

JO - New Review of Film and Television Studies

JF - New Review of Film and Television Studies

SN - 1740-0309

IS - 1

ER -