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create certain atmospheres in the same way as music does, has still to be developed, and it is undoubtedly in this field that the most creative advances and the richest discoveries will be made.
In the film The Song of Ceylon, an attempt has been made to make use of the above suggestions in constructing a sound-score which has a definite shape, and not only is an accompaniment to the visuals, but adds an element which they do not contain. The film has, in fact, been cut throughout with an eye to the sound-score. Its form is musically conceived; an analysis of its four movements would read like that of a symphony. Each sound has been selected for its seeming inevitability, as harmonies are in music. Even the commentary is calculated as an effect and not as a necessary nuisance. The chief aims of the sound-score are simplicity and clarity. The audience's difficulty in co-ordinating sight and sound has been recognized, and confusion has been avoided as far as possible. Two kinds of music have been used : the native singing and drumming for realistic purposes, and the western orchestra in an attempt at a palatable combination of Sinhalese and European idioms, for atmospheric and emotional purposes. The two extremes, music and synchronized natural sound, are used respectively for emotional high-spots and points of rest. Non-synchronized sound is used a great deal for various specific purposes. An example is the distant bark of a dog heard during a shot of a native building a hut; the implication of the dog is a hint at village life not far away, and the effect of the combination of picture and sound in their context is to foreshadow a contented domestic life in the house now being built. The sound of a train is continued over a shot of an elephant pushing down a tree, and slowed up to correspond with its efforts. Morse and radio announcers reciting market prices are heard over shots of teapickers, sounds of shipping over the gathering of coker-nuts. Sinhalese speech, being presumed to be unintelligible to the audience, is used purely as a sound with its obvious connotation, except where a close-up of a speaker demands synchronized speech.
One or two experiments have also been made with the microphone. The vibrations of gongs have been picked up by swinging the microphone close up to the gong after it was struck. Some percussion instruments are used whose virtue is only discernible through the microphone. A particular attempt is also made at an instrumentation suitable for "canning." And all the natural sounds have been artificially produced in the studio, occasionally by very unlikely means. That it shows examples of a few of the possibilities offered by an entirely new approach to the whole problem of sound is the chief claim of the film.