Bold Action

what we want to insinuate in this film?

Through this dark humour short film, we want to reveal the living conditions of China’s young working class without a clear direction or motivation, and nowhere to release their tenacity. They live a gambler’s life, and the fantasy of “making a fortune” has become a way out of their poverty to some extent. I aim to tell an interesting story through these characters, capturing the emptiness experienced by the younger generation and revealing the spiritual poverty that is prevalent in the post-epidemic era.


While deeply exploring the inescapable predicament faced by the poor, the film also touches on intimacy. Huang Jia and Si Hai gradually reveal their true selves while portraying the driver, who appear beautiful in fantasy but struggle in harsh reality. The concept of robbery was initially a fusion of their desire for a better life, but then inevitably turned into a fantasy segment of success for both of them. Ultimately, the success of their robbery and the tragic death of the driver bring together the absurdity of fantasy and reality. Their daydream of car robbery, a utopian escape from reality, constantly hangs over their struggle with mediocre life.

Nowadays, people’s pursuits are generally deeply influenced by the material world. We often feel uneasy when facing spiritual scarcity and constantly seek balance. In order to enhance the dramatic effect of this robbery, we plan to use dynamic camera movements, including multiple panoramic and tracking shots. In addition, we want to use some mirror shots to create fascinating illusions in the hotel scene. At the same time, the sound design will be through the fusion of string music and electronic music. I hope to balance the external conflict and highlight their inner alienation. In the story, Huang Jia and Si Hai keep hitting the wall when looking for opportunities to open their hearts to each other. The appearance of “a big ticket” is a satire and rebellion against the material world. My friends and I often joke that “spirituality is greater than matter”. We want to make this movie because it is a spiritual carrier that transcends the complex reality in some ways.

Initial Ideas

Finally, I chose the sound for screen direction because, apart from doing homework, I don’t have much or enough experiences working with film works and has a complete or mature outcome. I hope that through this project, I can be inspired and gain some insights into the situations and problems I will encounter when working with film works.

The COLLABORATING project with film practice student the director Wentao Liu

A poverty-stricken couple considers planning a car robbery for some quick cash, however, the line between fantasy and reality blurs as they become deeply engrossed in it.…

Concept Outline

In a coastal town in China, young working-class lovers, Huang Jia and Si Hai, conceive a daring plan to escape their dire reality: a car robbery. Huang Jia plays the role of a woman trying to escape from a dangerous past and an abusive relationship. She uses the excuse that her phone was left on the car to once again hitch a ride with Peter Chen, a driver who looks like the protagonist of a Hong Kong gangster film. Throughout the journey, Huang Jia skillfully manipulates Peter Chen’s sympathies and moral bottom line, using words and actions to seduce him and gain his trust.

Si Hai plays the role of the jerk of the relationship, described by Huang Jia as bipolar, who uses Huang Jia for profit. As tensions escalate, Huang Jia guides Peter Chen to a secluded parking lot, where she teams up with Si Hai to carry out the robbery. Peter Chen’s unexpected resistance increases the tension of the plot and pushes the story to a climax. They deliberately introduce obstacles into their fantasy to create the illusion of overcoming difficulties. In the end, they successfully rob Peter Chen of his money and escape in a Hollywood style in his car.

At sunrise, they wake up and start to implement their plan, only to realise that reality has shattered their absurd fantasy. This reality once again injects an element of dark humour into the story, highlighting the consequences of their actions and the impossibility of escaping the real environment.

Initial Thoughts

the preference: which pathway I want to choose and collaborating with?

I have been highly interested in sound in film since the beginning of my academic career. In the first semester, I opted for the “Sound for Screen” pathway, attracted by the way sound influences emotion, rhythm, and psychological depth in moving images. My fascination with the ability of background music and atmospheric sound to enhance a visual narrative has always been present, often centering on how to “make sound good.”

Then, I am finding it difficult to decide whether to collaborate together with other artists related to Sound for Screen or to create a instrument intended for individuals with disabilities. Sound for screen is something I am interested in as a sound artist, so I think it would be beneficial for me to try more collaborations in this area and accumulate collaborative work experience. Nevertheless, I have never attempted to create or design musical instruments for special groups suz I believe this will be a particularly meaningful endeavour also.

Script

‘ The Sound of Steps — How Walking Sounds Reveal Age ‘
  • Introduction

Welcome to this exploration of an intriguing and often overlooked aspect of human life—our footsteps.

What if I told you that the sound of our steps, could reveal something about our age or generation?

Today, I’ll discuss how the sound of walking, specifically while going up and down stairs, differs across generations.

I’ve recorded the sounds of footsteps from people of various ages, and we’ll analyse how these sounds reflect the physical changes that occur over time. By examining these recordings, we can discern not only the age of the walker but also the generational differences that influence their gait.


  • Overview


Footsteps are more than just sounds; they are a reflection of the body in motion.

Each step we take creates a sound wave that’s influenced by many factors—our health, age, physical condition, and even the shoes we wear. When it comes to the sound of footsteps, particularly on stairs, the physical effort required to ascend or descend amplifies certain aspects of the walk, like rhythm, impact, and pitch.

As people age, the story changes. Research by Dr. Emma Johnson (2018) highlights that the older adults have slower, heavier footsteps due to a decrease in muscle mass and joint stiffness. The force of the step increases as the body’s ability to absorb impact decreases, which results in a slower cadence and a more pronounced footfall sound.

This difference is not only physical but is also tied to the generational context—the way we walk is influenced by the culture, lifestyle, and technologies of the time we grew up in.


  • Development

In the research The Aging Body and Gait written by Dr. Brian Harper discusses how different factors contribute to slower and heavier steps in older individuals. For example, as we age, the shock absorption capacity of our joints declines, which means more impact is transferred to the ground, resulting in louder, more forceful footsteps.

Muscle mass, which peaks in early adulthood, begins to decline in the 30s and continues through the 70s. This loss of muscle tissue, particularly in the legs, contributes to a more deliberate, slower gait in older adults. Additionally, joint conditions affect the way the elderly walk, often making them more cautious and less flexible in their movements, these physical changes are clearly heard in the sound of footsteps.

Also, the footwear we wear also plays a role. The footwear older generation and younger generation wear are tending to different styles.

As Dr. Lucy Fernandez (2021) explains in her book Footsteps Through Time, that as society has become more focused on comfort, younger generations prefer shoes that are softer and more shock-absorbent, which is reflected in their quieter, lighter steps.


  • Case Study

Let’s now turn to a case study based on the recordings I’ve made of people from different generations walking up and down stairs.

(These footsteps are rapid and relatively soft. The high-pitched sound suggests a light, quick stride—characteristic of a younger, more agile person.

Notice the slower pace and the heavier impact with each step. There’s a noticeable delay between each footfall, and the sound is lower in pitch.)

These recordings are a direct reflection of the physical changes that happen as we age. The older person’s steps are more deliberate, reflecting not only the loss of muscle strength but also the fact that they may be using more energy to climb the stairs, taking slower steps as a result. The sound of their footsteps is louder and lower, indicative of increased pressure with each step.

Then there’re 2 interesting research results about footstep between different generations.

In fact, Dr. Robert Green (2020) conducted a study where he measured footfall frequencies in various age groups while walking upstairs. He found that the younger group averaged a footfall every 0.6 seconds, while the older group had an average of 0.9 seconds between steps.

Additionally, Dr. Clara Moore (2019) found that individuals over 65 often produce steps that are 50% louder than those of younger adults, especially when walking on hard surfaces like stairs.


  • Summary

The sound of footsteps, particularly when walking up and down stairs, can reveal a great deal about a person’s age and physical condition. Through the recordings I’ve shared, we’ve seen how the frequency, impact, and pitch of footsteps change with age. Younger people’s footsteps tend to be quicker, lighter, and higher in pitch, while older adults produce slower, heavier, and lower-pitched footfalls. These differences arise from the natural physical changes that occur as we age, including the loss of muscle strength and joint flexibility.

So, next time you hear footsteps on the stairs, just have a try, you might just be able to guess the person’s generation—and maybe even their story—just by the sound of their steps.”

Idea Developing

From the wild animal to the human

The topic I originally planned to do was about how to identify the different ages of turtles by the different sounds of their movements. But after I looked for places in London or the UK that breed turtles, I found that this idea was a bit difficult to put into practice, especially finding and collecting turtles of different ages.


Then after I thought about it,

  • I thought that humans are also a kind of animal?

Can I analyze the relationship with people of different ages through the sounds produced by a certain behavior in our daily lives

  • Walking!

We walk every day, we all walk, and we all walk. Then I thought about whether it is possible to identify the age of people of different ages by recording the sounds of them going up and down the stairs, and to analyze the reasons for this result.

‘ The Sound of Steps

— How Walking Sounds Reveal Age ‘
Secondary Research

‘ Due to joint stiffness and a loss of muscular mass, older persons walk more slowly and with more weight. As the body’s capacity to absorb contact diminishes, the force of the step increases, causing a slower cadence and a more noticeable footfall sound. ‘

Age-Related Changes in Gait: Footsteps and Footfall Frequencies Across the Lifespan, Emma Johnson, 2018

‘ The older group’s average interval between steps was 0.9 seconds, whereas the younger group’s was 0.6 seconds. The distinctive sound of older footfall is produced by a slower cadence and a greater impact. ‘

Footfall Frequencies and Age: A Comparative Study of Young and Older Adults, Robert Green, 2020

‘ Individuals over 65 often produce steps that are 50% louder than those of younger adults, especially when walking on hard surfaces like stairs. ‘

The Impact of Aging on Footstep Sounds: A Biomechanical Study of Elderly Gait, Clara Moore, 2019

Hearing History as Methodology

Secondary Research

‘ In this regard, “hearing history” is a call for historians to consider sound as a source of historical evidence and to engage with auditory sources in a more nuanced way, just as they would with written texts, images, or material culture.’

Hearing History: A Reader, Mark M. Smith, 2004

It explores the idea of the soundscape, a term made popular by Canadian composer R. Murray Schafer. The entirety of the sounds in a particular setting, including ambient, man-made, and natural sounds, is referred to as the “soundscape.”

  • According to Hearing History,
  • We need to take into account how people heard as well as what they heard. Understanding how the body is involved in the physical sensation of listening might help one have a deeper understanding of past experiences.
  • The work is consistent with the larger topic of sensory history, which investigates the historical understanding and experience of many senses, including sight, touch, taste, smell, and hearing. One of the most important sensory channels for comprehending people’s lived experiences is sound.
  • According to Hearing History,
  • Sound influences how people and groups perceive and comprehend their surroundings on a local and global level. Examples from various geographic and cultural contexts are included in the book to show how sound has been used by many societies to establish community, identity, and power.
    It challenges historians to consider sound in light of regional customs, international interactions, and their intricate interactions.

The Sonic World of the Invisible

Primary and secondary Research
  • HUMAN Perspective, ‘Unheard’ frequencies ?
  • subsonic (below 20 Hz)
  • ultrasonic (above 20,000 Hz)

Sounds in these ranges are critical to the survival and communication of many species, but they are “unheard” by us unless we have the proper equipment to capture them.

Additionally, some natural events or processes also unfold in patterns that occur too slowly or too quickly for us to notice.

  • The connection?

Sound recording in nature allows us to discover a deeper connection with the world around us. By tuning into the sounds that are typically beyond our reach, whether because they are outside the range of human hearing or are obscured by our own limited attention, we open ourselves to new ways of understanding and appreciating the natural environment.

In my opinion, the nature, the environment is in a more mindful, listening-centered way. I feel like there are lots of similarities between wild animals and human, we came from the same initial originally. It should be workable to read wild animals’ movements or actions as we can read human ourselves.

‘ As we capture the sounds of the wilderness, we become part of its rhythm. With each recording, we not only document but also contribute to the ongoing narrative of a living, breathing planet—a planet whose fate depends on our awareness and understanding. ‘

Recording Natural History Sounds, Richard Margoschis, 1977

Recording as a Form of Connection with Nature

Secondary Research

‘ Recording is not just a way to capture the sounds of the wild; it’s a way to listen deeply, to observe with our ears, and to engage with the rhythms and cycles of the natural world. Every sound captured is a moment of connection that deepens our understanding of life around us. ‘

Recording Natural History Sounds, Richard Margoschis, 1977

‘ To truly understand nature, we must listen to it. Every sound captured tells a story of survival, adaptation, and interconnectedness. These recordings are not only archives of sound—they are calls to action, urging us to protect the very habitats from which these sounds arise. ‘

Recording Natural History Sounds, Richard Margoschis, 1977

  • Sound as a Bridge to Nature?

One of the most direct and unmediated ways to encounter nature, according to Margoschis, is through sound. A powerful sense of presence can be evoked when you tune into the noises of a particular ecosystem, such as the rustle of leaves, the sound of a running river, or the voices of birds (for example).

‘ Through sound, we bridge the gap between ourselves and the wild. It’s as if nature speaks to us directly, not through words, but through the timeless language of sound. ‘

Recording Natural History Sounds, Richard Margoschis, 1977

Unlike visual observations, which can be fleeting or incomplete, sound offers a continuous, evolving record of the life happening in an environment. A field recording can transport listeners to a moment in time and space, providing a fuller, more layered sense of what it means to be in that natural setting.

Through sound, we are invited to listen more attentively and become more aware of the complex, often hidden, aspects of nature. As the artist Margoschis states, the sound recording not just as a technical or artistic activity but as an immersive experience — one that invites us to step into the natural world and experience it more fully.

In this way, sound acts as both a tool and a medium, enabling us to connect with the environment in a deeper, more meaningful way. It allows us to perceive the world in its full sonic richness, fostering an empathy and awareness that can be transformative, both personally and ecologically.