Clip 1: Insidious – Tiptoe Through the Tulips
The focus of this scene is the disparate music. At the beginning of the scene we see Rose Byrne’s character Renai press play on a turntable playing a soft and reassuring piece performed on piano (a composition by Ludovico Einaudi called Nuvole Bianche). The diegetic music is presented as coming from within the scene, the music fading in and out of volume/clarity as the camera follows Renai around her home as she completes some housework. However it is likely that the music is in fact wild track, added in post production and effectively manipulated. As the scene progresses we hear more audio produced by Renai’s general cleaning and tidying until she leaves the house to take the bins out. The camera stays inside, still following her through the windows as she walks to the front of the house. The diegetic music suddenly stops following a loud scratch, only to be followed by Tiptoe Through the Tulips, a song by Tiny Tim. Evidently the music is once again suposedly coming from the record player, however this time the audio is non-diagetic. The creepy nature of the track can be attributed to the wobbly falsetto male voice singing it and the visuals accompanying it: a small boy dancing next to the record player where Renal had just been.
Clip 2: ’71
This clip is packed with diegetic sounds, many of which are utilised to build tension and in turn act as part of the score. The sound design in this scene is made up of mostly diegetic and wild track audio. The banging of dust bin lids creates a sense of foreboding, the fast metallic rhythms, the loud rumbling of the military vehicles, and the distressed shouting of both the civilians and the army members generates a wall of diegetic sound immersing the audience within the scene. A non-diegetic score begins to fade in. The simple nature of the melody emulates the drone of a military siren. It is possible much of the noise in the scene was added as wild track, but it disguised very well as diegetic.
Clip 3: Annihilation – Bear Scene
In this terrifying scene a nightmarish monster bear hunts the scientists in an abandoned house they had become tied up in. The first scientist – the one who had tied the others up – is drawn outside by the distressing sounds of her deceased friends screams. The scream is shortly followed by a short roar, and the non-diegetic score – made up of low frequency rumbling and pulsing noises – becomes quieter. The sound design of the creature in question is what makes this scene so nightmarish. Floor boards creak loudly – wild track / foley -with every slow step the monster takes, suggesting the immense weight of the beast. Blood can be seen dripping from it’s mouth as it slowly makes its way into the room. Audible is the frantic breathing of the women, and the slow and steady breathing of the bear. As the bear moves its mouth we hear a horrible wet sound effect, conveying the freshness of the blood that is covering it’s mouth. When the bear exhales the sound is very unnerving. The sound it makes mimics the screams of the dead scientists – it’s last victim – in a drawn out and distorted way. The scene climaxes as the bear attacks one of the scientists, running towards her and slamming her into a wall. The non-diegetic soundscape becomes busier, with rumbling and pulsing bass noises rising in velocity. The monster bear takes one final bite of the scientist, removing the bottom half of her jaw from her face. The wild track diegetic audio is cracking of bones and tearing of skin. The score falls silent as this happens.