Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema David Sonnenschein
Publisher: Wiese, Michael Productions

Donnelly, British Film Institute Publishing, London, 2005, page 10. This entry neglects another important component of Side Effects: the music. You can try to create the sounds, make them seem realistic, and complete the illusion, but you can try to design the sounds such that it's more than reality, so that the right impression is there of what you want, whether it's speed or power or danger. Sonnenschein D., 'Sound Design. BB: When sound movies came in, sound effects were generated in the studio because equipment was clumsy and you needed a big truck to go out and record something. Again, I've ironed out the ups and downs of the film in order to lay out the plot's design. 'The Spectre of Sound: Music in Film and Television', K. Embodying Roland's world-leading digital technology, the Music Atelier organ inherits the full, rich sound and elegant design of a traditional organ combined with the most expressive and advanced home-organ features. The 1940s films rely on mental subjectivity—voice-over inner monologues, exaggerated sound effects, hallucinations, dream imagery—in order to show that the protagonist is truly wacko. They incorporate subjects and themes of our time, like spousal abuse and the insidious power of Big Pharma.