On the perception of film sound in copyright terms
While film music evidently shapes the emotional layer of the film, film sound serves „reality“ in the first place by making audible what can be seen (and what can not be seen) in the picture. For the perception as well as the recognition in copyright terms, this is the blessing and curse of film sound.
It is a curse, because sound is often perceived as „natural“, as it reflects the everyday experience and thus very few people know that this reality is a film reality constructed from A to Z, focused on creating exactly the emotional basis desired by the film’s dramaturgy. It is also a blessing, because the emotional impact of film sound is even more powerful due to the seemingly ever present connection to „the reality“: I believe what I hear!
This film reality can also be hyper-real, that is to say, a mere inner reality of the protagonists. Film sound is teamwork. Therefore, all film sound professionals are authors of the work film sound – with different emphases.
As an example, the following article depicts the work of the sound designer, who – among other things – operates as an acoustic set designer:
The artistic threshold of originality of sound design in film.