DOI: https://doi.org/10.36719/2789-6919/45/157-160
Gunel Gafarova
Azerbaijan State University of Culture and Arts
Master student
https://orcid.org/0009-0000-5937-8540
gunelgaffarzadeh@gmail.com
The Dramaturgy of Sounds in Steven Spielberg's Cinematography
Abstract
This article analyzes the dramaturgical functions of sound, music and silence in the work of American director Steven Spielberg, exploring their aesthetic and ethical roles within the language of cinema. It considers film not only as a visual art form, but also as a complex, multilayered medium shaped by auditory elements. Spielberg’s approach to sound is distinctive—he treats it not merely as a technical accompaniment but as an emotional and structural component integral to storytelling. As a result, in Spielberg’s cinematic poetics, sound becomes a core structural unit with visuals, carrying ethical and philosophical weight and expressing a commitment to artistic truth. In his films, silence can evoke emotional responses as powerful as a scream, and music not only narrates events but also makes the audience feel them. This approach stems from the director’s empathy-driven aesthetic vision, which aims to transform the viewer from a passive observer into an active participant. One of the main focal points of the article is Spielberg’s use of music, particularly his long-standing collaboration with composer John Williams. The impact of recurring musical leitmotifs created within this partnership on the psychological dynamics of storytelling is examined in depth.
Keywords: Steven Spielberg, sound in cinema, music, silence, audiovisual, film music