Diegetic and nondiegetic sounds in film scoring of Pengabdi Setan film

Pandu Watu Alam, Rangga Saptya Mohamad Permana, Sri Seti Indriani

Abstract


Background: This research examines the 2017 film Pengabdi Setan scoring function. Joko Anwar wrote and directed the film Pengabdi Setan, released on September 28, 2017. This film is a remake of a 1980 film of the same name. In this film, the score is essential for visually confirming symbols or incomplete messages. There are two types of sound: diegetic sound and non-diegetic sound. Purpose: This research aims to determine how diegetic and non-diegetic sound were used to create a horror atmosphere in the film Pengabdi Setan. Methods: The authors described the audio analysis results in the form of diegetic and non-diegetic sounds using a qualitative descriptive analysis. Documented assessment and observation were employed as data collection techniques. Results: The results indicate that infrasonic sound (infrasound) and sub-bass frequencies in the form of non-diegetic sounds emotionally impact audiences. The typical frequency is 31 Hz, and although it is inaudible to the human ear, the audience can sense the vibrations of this frequency. This frequency can typically only be perceived as a “chest rumble.” In general, both diegetic and non-diegetic sounds in the film Pengabdi Setan contribute to completing the defective message symbol. The combination of infrasonic sound effects, sub-bass, and musical composition validates the visual messages or symbols. Implications: This research can theoretically serve as a resource for future researchers interested in studying diegetic and non-diegetic sound in film. Directors and cinema sound engineers can use this research to construct diegetic and non-diegetic sound in their films, particularly horror films.

Keywords


diegetic sound; film scoring; infrasound; nondiegetic sound; Pengabdi Setan

Full Text:

PDF

References


Annissa, L. W., & Adiprasetio, J. (2022). Ketimpangan representasi hantu perempuan pada film horor Indonesia periode 1970-2019. ProTVF, 6(1), 21–42. https://doi.org/10.24198/ptvf.v6i1.36296

Ariani, D. R., & Neta, F. (2021). Penerapan Teknik Color Grading dan Musik Scoring pada Tahap Paska Produksi Film Horor “Waktu Terlarang.” Journal of Applied Multimedia and Networking, 5(1), 29–41. https://doi.org/10.30871/jamn.v5i1.2375

Ayun, P. Q. (2015). Sensualitas dan Tubuh Perempuan dalam Film-film Horor di Indonesia (Kajian Ekonomi Politik Media). Jurnal Simbolika, 1(1), 16–23.

Azizah, N., & Rahayu, Z. S. P. (2022). Perempuan dalam Film Horor Indonesia dari Perspektif Psikologi. Ad-Dariyah: Jurnal Dialektika, Sosial Dan Budaya, 3(2), 129–142. https://doi.org/10.55623/ad.v3i2.127

Bahar, A. (2017). Seramnya Musik Film Pengabdi Setan, Bahkan Bisa Memengaruhi Psikologi dan Mood Manusia. Hai Grid. https://hai.grid.id/read/07600493/seramnya-musik-film-pengabdi-setan-bahkan-bisa-memengaruhi-psikologi-dan-mood-manusia

Bolivar, V. J., Cohen, A. J., & Fentress, J. C. (1994). Semantic and formal congruency in music and motion pictures: Effects on the interpretation of visual action. Psychomusicology: A Journal of Research in Music Cognition, 13(1–2), 28–59. https://doi.org/10.1037/h0094102

Boltz, M., Schulkind, M., Kantra, S., & Bitnet, M.-B. (1991). Effects of background music on the remembering of filmed events.

Burt, G. (1994). The Art of Film Music. Northeastern University Press.

Dykhoff, K. (2012). Non-diegetic sound effects. The New Soundtrack, 2(2), 169–179. https://doi.org/10.3366/sound.2012.0037

Gong, Z., & Zhang, J. (2021). Review of Sound in Horror Movie.

Gorbman, C. (1987). Unheard Melodies: Narrative Film Music. Indiana University Press.

Hannan, M. (2009). Sound and Music in Hammer’s Vampire Films. In P. Hayward (Ed.), Terror Tracks: Music, Sound and Horror Cinema (pp. 60 – 74). Equinox Publishing.

Haryanto, A. (2016). Horornya Musik dalam Film Horor. Tirto.Id. https://tirto.id/horornya-musik-dalam-film-horor-b1NG

Heldt, G. (2013). Music and Levels of Narration in Film. Intellect Ltd.

Jørgensen, K. (2011). Time for New Terminology?: Diegetic and Non-Diegetic Sounds in Computer Games Revisited. In M. Grimshaw (Ed.), Game Sound Technology and Player Interaction (pp. 78–97). IGI Global. https://doi.org/10.4018/978-1-61692-828-5.ch005

Lipscomb, S. D., & Tolchinsky, D. E. (2005). The role of music communication in cinema. In D. Miell (Ed.), Musical Communication (pp. 383–404). Oxford University Press. https://doi.org/10.1093/acprof:oso/9780198529361.003.0018

Miles, M. B., Huberman, A. M., & Saldana, J. (2018). Qualitative data analysis: A methods sourcebook (4th Editio). SAGE Publications, Inc.

Ngazizah, D. (2021). The use of diegetic sounds in building a jump scare in the A Quiet Place (2018) movie. CLLiENT (Culture, Literature, Linguistics, and English Teaching), 3(2), 17–29.

Oakes, A. (2022). Popular Music in the Marvel Cinematic Universe: How Songs Connect to Characters and Prompt Audience Engagement. The Macksey Journal, 3(1), 1–23.

Owsinski, B. (2022). The Mixing Engineer’s Handbook (Fifth Edit). Bobby Owsinski Media Group.

Permatasari, S. D. R., & Widisanti, N. M. (2019). Hantu Perempuan sebagai “Produk Gagal” dalam dua Film Horor Indonesia: Pengabdi Setan (2017) dan Asih (2018). Media Bahasa, Sastra, Dan Budaya Wahana, 25(1), 86–97. https://doi.org/10.33751/wahana.v25i1.1220

Phetorant, D. (2020). Peran Musik dalam Film Score. Journal of Music Science, Technology, and Industry, 3(1), 91–102. https://doi.org/10.31091/jomsti.v3i1.967

Prawiranauli, N., Aritonang, A. I., & Wahjudianata, M. (2018). Stereotipe Perempuan Indonesia dalam film horror “Pengabdi Setan.” Jurnal E-Komunikasi, 6(2), 1–12.

Purves, D., Augustine, G. J., Fitzpatrick, D., Hall, W. C., LaMantia, A.-S., Mooney, R. D., Platt, M. L., & White, L. E. (Eds.). (2001). The Audible Spectrum. In Neuroscience (Second Edi). Sinauer Associates.

Rv, S., & Sambath R D. (2023). Audience Perception and Cognition towards Moving Images: Review of Short Film Delirium. https://doi.org/10.21203/rs.3.rs-2775347/v1

Samuel, K. M., & Adejube, S. A. (2022). What a sound! Diegetic and non-diegetic music in the films of Túndé Kèlání. EJOTMAS: Ekpoma Journal of Theatre and Media Arts, 8(1–2), 274–294. https://doi.org/10.4314/ejotmas.v8i1-2.15

Saputra, D. D., & Sulistyani, H. D. (2019). Representasi motherhood pada karakter hantu perempuan dalam film Pengabdi Setan. Interaksi Online, 7(4), 39–53.

Satan’s Slaves. (n.d.). Rotten Tomatoes. Retrieved June 5, 2023, from https://www.rottentomatoes.com/m/satans_slaves

Setiawan, E., & Halim, C. (2022). Perkembangan film horor di Indonesia tahun 1990-2010. Bandar Maulana: Jurnal Sejarah Kebudayaan, 27(1), 22–34.

Setiyawan, C. F. (2018). Erotisisme dalam film horor Indonesia. ULTIMART: Jurnal Komunikasi Visual, 11(1), 45–55. https://doi.org/10.31937/ultimart.v11i1.971

Slowik, M. (2013). Diegetic Withdrawal and Other Worlds: Film Music Strategies before “King Kong”, 1927-1933. Cinema Journal, 53(1), 1–25.

Supiarza, H. (2022). Functions of Music in Film: The Meeting of Visual and Aural Arts. Cinematology: Journal Anthology of Film and Television Studies, 2(1), 78–87.

Tan, S.-L., Spackman, M. P., & Wakefield, E. M. (2017). The Effects of Diegetic and Non-diegetic Music on Viewers’ Interpretations of a Film Scene. Music Perception, 34(5), 605–623. https://doi.org/10.1525/mp.2017.34.5.605

Wahid, U., & Agustina, S. (2021). Strukturasi proses produksi film horor Pengabdi Setan: Perspektif ekonomi politik. ProTVF: Jurnal Kajian Televisi Dan Film, 5(1), 80–100. https://doi.org/10.24198/ptvf.v5i1.25601

Watts, C. (2018). Blurred Lines: The Use of Diegetic and Non-diegetic Sound in Atonement (2007). Music and the Moving Image, 11(2), 23–36. https://doi.org/10.5406/musimoviimag.11.2.0023

Yacavone, D. (2012). Spaces, Gaps, and Levels: From the Diegetic to the Aesthetic in Film Theory. Music, Sound, and the Moving Image, 6(1), 21–37.

Yuliantini, M. F. (2021). Ketimpangan Gender di Layar Perak: Representasi Perempuan di Film Terlaris Indonesia. Umbara, 6(2), 78–93. https://doi.org/10.24198/umbara.v6i2.33721




DOI: https://doi.org/10.24198/ptvf.v7i2.47281

Refbacks

  • There are currently no refbacks.


Bookmark and Share


Copyright (c) 2023 Pandu Watu Alam, Rangga Saptya Mohamad Permana, Sri Seti Indriani

Creative Commons License
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.

ProTVF Indexed by:

    

Editorial Office of ProTVF:

Faculty of Communication Science, Universitas Padjadjaran
Jl. Raya Bandung-Sumedang Km. 21 Jatinangor, Sumedang, Indonesia 45363
WhatsApp: +6283111519064 (Anggi Lestari)

Telephone: +62227796954
Faximile: +62227794122
E-mail: jurnalprotvfunpad@gmail.com

 

ProTVF Supervised by:

View My Stats