Case Study - Sound

I conducted a case study on the coming‑of‑age film To All the Boys I’ve Loved Before, focusing specifically on its use of sound. My analysis examined sound mixing, perspective, and the ways audio provides the audience with narrative information and emotional cues. I also identified specific moments in the film where sound design shapes character development, enhances mood, or signals shifts in tone. These techniques and the intentional use of audio to guide audience response are elements I plan to incorporate into my own film.

The research can be found below:

Movie clip (first two minutes): To All the Boys I’ve Loved Before

Sound mixing and Sound perspective: Sound mixing is used throughout by layering background music and the characters dialogue. At certain points the music is louder when the pace of the story is fast and quieter when the dialogue is slowly adding to the storyline and emotion is not being relied upon to be transmitted through music. Sound perspective is seen throughout as certain sounds are asynchronous, but still diegetic like the dishes clattering. The loudness of the sound represented something must have fallen, compared to a sublet drop which would have been less significant and necessary to signal a switch in scene approaching.

How does it provide the audience with narrative information? Sounds set the tone and mood of each scene. They also are used to signal shifts in the scenes from changes in setting like the field to her bedroom as well as changes in mood as the little sister goes from wanting to happily play to sighing demonstrating her disappointment. The music in the opening scene sets the stage for the audience as it presents the protagonist’s fairy tale world. The pillow sound represents a shift back to reality. The sounds of the characters’ dialogue match the characters’ motions and facial expressions, helping the storyline progress.

What emotional responses are induced in the audience? The opening scene plays whimsical music that induces an imaginative emotional response as it soon becomes clear the protagonist is fantasizing about the boy. This music leaves the audience interested in knowing more about the protagonist’s relationship with the boy. The swooping sounds used refocus the audience on the new scene that follows, drawing attention to the next part of the movie. The different tones used by the characters mirror the emotional responses produced including the excitement felt after knocking at the door, the frustration of having to pretend to enjoy gross food, and the high-five that makes the audience wonder how each character’s storyline plays out.

Sounds:

1.     Background music (non-diegetic) - melodic whimsical sound

2.     Character’s voice (auto diegetic voiceover) - Protagonist character narrators during the scene

3.     Change in background music (non-diegetic) - melodic but faster and more upbeat

4.       Pillow hitting sound (diegetic) - synchronous

5.     Protagonist's voice (diegetic dialogue) - synchronous, yell with annoyed tone

6.     Swooping sound (non-diegetic) - asynchronous, used to change scenes

7.     Background music change (non-diegetic) - asynchronous, mellow music

8.     Sister’s voice (diegetic dialogue) - synchronous, interrogative question

9.     Swooping sound (non-diegetic) - asynchronous, used to change scenes

10.  Sound of movement in bed grabbing book (diegetic) - synchronous

11.  Dishes clattering (diegetic) - asynchronous

12.   Male voice (diegetic dialogue) - asynchronous, yelling

13.  Two characters talking (diegetic dialogue) - synchronous

14.  Sigh (diegetic) - synchronous from other characters shown in scene

15.  Characters talking (diegetic dialogue) - synchronous

16.  Knocking and opening of door (diegetic) - synchronous

17.  Male character talking (diegetic dialogue) - synchronous

18.  Sound of shoes hitting floor (diegetic) - synchronous

19.  Kiss sound (diegetic) - synchronous

20.  Male characters talking (diegetic dialogue) - synchronous

21.  Sound of plate hitting counter (diegetic) - synchronous

22.  High five sound (diegetic) - synchronous

23.  Continued diegetic dialogue between characters - synchronous

24.  Crackle noise (diegetic) - synchronous, comes from meat, negative unpleasant sound

25.  Sound of saw (diegetic) - asynchronous, comes from kitchen not shown