The Eerie soundscapes of Showa-Era Documentaries
Comedian Teruki Goto, known for his work with the duo “Football Hour,” recently sparked a fascinating discussion on TV Asahi’s “THE Generation Kan” about the unsettling nature of documentary footage from Japan’s Showa era.
The programme explored the discomfort viewers often feel when watching these older films, with one recurring theme being the unnerving background music.
One example highlighted a seemingly ordinary aerial shot of a train passing through a town. However, the accompanying music evoked a sense of dread, reminiscent of the iconic scores from monster movies like “Godzilla.” travis Japan’s Kaito Miyachika aptly described it as “the music that plays after Godzilla appears,” noting the chilling “tut tut tut” sound that sent shivers down his spine.
Goto humorously remarked that the music made the documentary feel like a scene from a kaiju film, with the receding aerial shot suggesting the presence of a giant monster like Gamera lurking in the distance.
to shed light on the reasons behind this unusual musical choice, the program featured an interview with Professor Emeritus Akira Ifukube, the legendary composer behind the “Godzilla” theme.
Professor Ifukube revealed the technical limitations of the time. Recording technology was far less refined, making it impractical to isolate and edit specific musical segments.As a result, the orchestra had to perform the entire score live while watching the film, often resulting in a powerful, albeit somewhat overwhelming, sonic experience.
Professor Ifukube explained that the narrower frequency range of the recording equipment at the time contributed to the heavy and somewhat distorted sound. High notes were often cut off, creating a muffled and less crisp audio quality compared to modern recordings.This technical clarification surprised Goto, who initially assumed there was a deliberate artistic intention behind the eerie music.While the heavy background music may seem jarring to contemporary viewers, it offers a fascinating glimpse into the technological constraints and artistic sensibilities of a bygone era. It serves as a reminder of how advancements in technology have transformed the way we experience film and music.
Score One For Technology: A Conversation on Showa-Era Film Scores
Welcome back to ‘Beyond the Whistle’! Today, we’ve got a unique topic that blends the worlds of film, music, adn sports in a way that might surprise you. We’re diving into the eerie world of Showa-era documentary soundtracks with none other than legendary Olympic gymnast extraordinaire, Nadia Comăneci. Nadia, welcome to the show!
Nadia: It’s a pleasure to be here! And I must admit, I’m intrigued. Combining sound and sports history is definitely a unique approach.
Moderator: Absolutely! So, Nadia, the other day I was reading about this fascinating discussion on a show called “THE Generation Kan.” They were talking about how the background music in old Japanese documentaries can feel downright unsettling, almost like something out of a monster movie.
Nadia: Realy?
Moderator: Made me think of those gymnastics scoring moments, where the music could make or break the entire performance.
Nadia: I totally get that. Music has such power to evoke emotion, to amplify tension and drama.
Moderator: Exactly! In these documentaries, the music was apparently composed live during filming, which, according to Professor Emeritus Akira Ifukube, who’s the legendary composer behind the “Godzilla” theme, was necessitated by the limitations of recording technology back then. The orchestra hadn’t the luxury of isolating and editing individual musical segments.
Nadia: That’s fascinating. It puts a whole new spin on those films, doesn’t it?
Moderator: It sure does! it makes me appreciate the technological advancements in film and music production even more. So, Nadia, do you find yourself drawn to those old films? Does that kind of “retro” aesthetic appeal to you?
Nadia: I’m always interested in seeing how things were done in the past. It’s a great way to learn and to appreciate the progress we’ve made. But honestly, the thought of that music accompanying my floor routine? Maybe not so much.
(Moderator chuckles)
Moderator:
I hear you. It’s one thing to have the “Godzilla” theme playing while a giant lizard stomps Tokyo, but maybe not the ideal accompaniment for a triple backflip!
Nadia: Exactly!
Moderator: So, it begs the question, do you think those filmmakers intentionally chose music that was unsettling? Or was it truly just a byproduct of the technology of the time?
Nadia:
I lean towards the latter. it sounds more like they were making do with what they had. And, in a way, that’s kind of admirable. They were breaking new ground, pushing the boundaries of filmmaking despite those limitations.
Moderator:
Totally agreed!
Readers, what do you think about this? Have you ever noticed anything similar in old sporting broadcasts or documentaries? Do you think those Showa-era soundtracks add to the film’s atmosphere or detract from it? Share your thoughts in the comments below. Let’s continue this conversation!
This is Beyond the Whistle. See you next time!
