Capítulo II – Cinema – Cinema

A Study of Sound Aesthetics in Screenplays of Asghar Farhadi

Based on Michel Chion’s Theories
Hossein Mashali
Islamic Azad University, Iran
Leila Montazeri
Islamic Azad University, Iran

Abstract Biography of Asghar Farhadi

The atmosphere created in a screenplay, how the Asghar Farhadi is an Iranian screenwriter and
screenwriter presents it, and how the reader perceives it filmmaker who has received two Academy Awards
are some of the most fundamental topics in studying the for Best Foreign Language Film for A Separation and
aesthetics of screenwriting, a significant part of which Salesman. Farhadi has a realistic style in filmmaking.
is writing audio descriptions. This paper discusses In his screenplays, he carefully arranges everything
one of the most critical and necessary foundations of to leads us to discover the truth to the degree that he
screenwriting - creating the auditory atmosphere of the does not even overlook minor elements.
film - in eight notable screenplays of Farhadi’s films
based on Michel Chion’s theory with an emphasis on Biography of Michel Chion
the elements of voice over, acousmatic, acousmetre,
music and sound effects, and ambience. This theory Born in 1947 in Creil, France, he is an experimental
deals with materialised signs of sound, which are the composer currently holding the post of an Associate
details that make us feel the tangible presence of the Professor at the University of Paris III, Sorbonne
sound and also know what kind they are, and what the Nouvelle, where he is a theoretician and teacher of
surplus-value is that the auditory atmosphere could audio-visual relationships. He has also written several
never have had without being written down. books on film sound and the interaction between sound
and image, which critics considered in 1990 to be the
Keywords: Michel Chion, Screenplay sound design, definitive book on the relationship between sound
Sound study, Auditory atmosphere, Writing sounds and image.

Introduction The dilemma of writing sound in the script

One of the main principles of aesthetics in the study Writing sounds in a script helps to improve the
of dramatic literature, especially screenplays, is the comprehensible atmosphere. Since it is crucial to write
atmosphere and methods with which it is created. all the aesthetic details in a screenplay to visualise
The art and mastery of a screenwriter lie in building it properly, it will be vital to pay attention to the
an understandable atmosphere, while the difference auditory details to make the visualised text hearable.
between screenwriters is undoubtedly in how they use Sound placement and writing them precisely will help
and present expressive tools in writing a script. The tremendously in creating this atmosphere. Since
written material is divided into the visible atmosphere books and articles have dealt more with sound after
and invisible atmosphere (outside the frame). The the script is written, not many sources are available.
screenplay is an independent part and should be But what is clear is that many writers and filmmakers
composed in details and with specific writing devices. have consciously recorded and written sound in its
As much as the script needs to be visualised in writing, various natures.
the auditory atmosphere should also be tangible and
understandable. In addition to dealing with all the other The Atmosphere and Ambient Sounds
necessary steps, the screenwriter, as the creator of
the dramatic work, examines the auditory atmosphere Ambient sound surrounds the scene and occupies
separately and writes down its dramatic functions. the space, like the sound of a forest or a street. It can
That is why classical cinema was limited to the space also be called a regional sound because its inclusive
inside the frame, showing the viewer only the realm and constant presence helps identify a specific
of the image inside the screen. However, leading environment and region. In addition to increasing
screenwriters and filmmakers sought to deconstruct realism, they can also be used to influence emotions.
established principles to create a new perspective in
the contemporary era. They have exceeded the visible On-Screen Sounds, Off-Screen Sounds
boundaries in favour of testing and developing new
perspectives. Furthermore, they have consciously In a limited sense and concerning what is displayed
used these atmospheres in their works according to in a shot, an off-screen sound is an acousmatic
the invisible spaces. This research will study the details sound, e.g. a sound whose source is - wholly or
in writing the auditory atmosphere in Asghar Farhadi’s temporarily - invisible. On the other hand, the source
selected works based on Michel Chion’s theories. of an on-screen sound is visible and belongs to the
AVANCA | CINEMA 2021

reality in which it is represented. Michel Chion uses The dark desert and animal howling terrify him.
the term non-diegetic sound to identify its tentative (Farhadi 2014, 40) {Off-screen sound}
source, which is absent in the shot and contradicts He looks at the old man’s car. The faint sound of
the fictional world. A typical non-digestive example is an old song comes from inside. (Farhadi 2014, 40)
an off-screen dialogue and narration and, of course, {Diegetic sound}
musical emphasis (Chion 2017: 42). Nazar: I swear, the cold weather is killing me - the
sound of the song gets louder. (Farhadi 2014, 41)
Acousmetre {Diegetic sound, ambient sound}
The old man throws a matchbox out and closes
An acousmetre is an acousmatic character with a the door. The music dies down. (Farhadi, 2014: 41).
certain ambiguous and unstable relationship to the {Diegetic sound}
image. We can define it as something that is neither Nazar is twisting a new thread around the ring.
inside nor outside the frame. It is not in the image The sound of the Volkswagen’s sliding door and the
because the source of sound - the body, the mouth - continuous hurling of the old man get Nazar out of
is not in the frame (Chion, 2017: 80). It is not out of his head. He gets up, confused. (Farhadi 2014, 42)
the frame either because it does not take an imaginary {Off-screen sound}
and hypothetical side, like a moderator or a witness. The sound of the same old song comes from inside
It is somewhat implicit in the action on the verge of the Volkswagen. (Farhadi 2014, 41) {Diegetic sound}
becoming part of the action any minute. It, therefore, The old man is still calmly blowing the opium smoke
can immediately be robbed of its mysterious powers towards the snake. The snake came out of the hole
(all-seeing, omniscience, absolute power of influence, but suddenly escaped back when Nazar runs down to
omnipresence). At this point, simultaneousness makes this side of the hill shouting and calling the old man.
the sound realise that it has been limited to a specific (Farhadi 2014, 44) {Off-screen sound}
body, or in technical terms, has been de-acousmatized. The old man is pouring oil into the frying pan,
De-acousmatization has a revealing process that is pretending he does not hear Nazar. The sizzling
undoubtedly dramatic. (Chion 2017: 30) sound of oil in the frying pan. (Farhadi 2014, 46)
{Off-screen sound}
Diegetic Sounds The old man puts on a song, switches the engine,
and then lies on a mattress at the back of the car.
The sounds produced electronically on the scene (Farhadi 2014, 53) {Diegetic sound}
are called diegetic sounds - sounds that play on the The sound of a fire comes from outside. (Farhadi
radio, telephone, tape recorder, etc. 2014, 53) {Off-screen sound}
Through the broken windows, the wind is
Dancing in the Dust storming in with a howling sound. (Farhadi 2014, 55)
{Ambient sound}
Short synopsis: Nazar, in his early twenties, meets The wind stops. He turns on the cassette player.
his future wife, Reyhaneh, in a minibus ride. They (Farhadi 2014, 55) {Diegetic sound}
get married, but because there are rumours about The sound of the old man’s song comes along
Reyhaneh’s mother, he is forced to divorce Reyhaneh. with the sound of the fierce wind. (Farhadi 2014, 55)
To escape from creditors who are after him, he has to {Diegetic sound, ambient sound}
share a journey with the old snake hunter. The old man He walks a few steps in the dark but suddenly stops
does not want him there at first, but after a poisonous when he hears the sound of opening the car’s sliding
snake bites the young man, he cuts off the snake-bitten door. (Farhadi 2014, 56) {Off-screen sound}
finger, takes Nazar to the hospital, and sells his car to The sound of the song breaks the silence of the
pay for the operation. desert. (Farhadi 2014, 56). {Diegetic sound}
The radio is playing the Midday Azan. (Farhadi He finds another tape and puts it in the player. Now
2014, 15) {Diegetic sound} a cheerful, romantic song is playing. (Farhadi 2014, 56)
The shot begins with a cassette player that is also a {Diegetic sound}
disco light. Nazar’s finger enters the frame and presses The desert is in peace. (Farhadi 1393, 57)
the play button. Song: The Year 2000 by Dariush {Ambient sound}
Eghbali. (Farhadi 2014, 23) {Diegetic sound} The snake escapes back into the hole when Nazar
The sound of a car comes from outside. It stops claps joyfully. (Farhadi 2014, 57) {Off-screen sound}
behind the stalls and lights insides. {Off-screen sound} Nazar’s voice comes from outside the car. (Farhadi
From the beginning of the sequence, we hear the 2014, 59) {Off-screen sound}
guide’s explanations on the shots. (Farhadi 2014, 28) The old man gets out of the car and listens closely
{Off-screen sound} to hear Nazar. (Farhadi 2014, 61) {Off-screen sound}
O.S.: Are you dead? Nazar turns his head toward A shot of the old man’s car while the sound of the
the outside. (Farhadi, 2014: 30). {Off-screen sound} song comes from it. (Farhadi 2014, 62) {Diegetic
The kiosk owner: I’ll make it a portable kiosk if you sound, ambient sound}
give it to me, and then I’ll use it to drive home at night. The music still comes from the car. We hear the
(Farhadi 2014, 37) {Off-screen sound} far-off shouting of Nazar. (Farhadi 2014, 62) {Diegetic
sound, Off-screen sound}
 Capítulo II – Cinema – Cinema

The wild cries of Nazar shatter the silence of the Children are playing around the railway, and there is
desert (Farhadi 2014, 64). {Off-screen sound} a sound coming from each house. (Farhadi 2014, 99)
The car shakes badly, and the wind blows wildly {Off-screen sound}
through the broken glass and the plastic cover (Farhadi The dispute between man and woman erupts. The
2014, 65). {Ambient sound} sound of a passing train covers their quarrel. (Farhadi
A silent desert. (Farhadi 2014, 66) {Ambient sound} 2014, 102) {Off-screen sound}
The sound of a quarrel between the old man and The sound of the doorbell brings him back to reality.
Nazar come from inside the car. (Farhadi 2014, 66) (Farhadi 2014, 103) {Off-screen sound}
{Off-screen sound} A noisy train passes by—the doorbell rings.
The sound of the wind still comes from the vehicle. (Farhadi. 2014, 105) {Off-screen sound}
(Farhadi 2014, 68) {Ambient sound} A’la is not yet so far when he hears a scream
A small humble yard. The sound of the coming from Abolghasem’s house. (Farhadi 2014, 110)
doorbell resonates in the yard. (Farhadi 2014, 82) {Off-screen sound}
{Off-screen sound} The voices of Abolghasem and his wife can be heard
The old man’s favourite song is playing on the car’s from outside. (Farhadi 2014, 113) {Off-screen sound}
cassette player (Farhadi 2014, 83). {Diegetic sound, The cries of the baby come from outside the frame.
off-screen sound} (Farhadi 2014, 118) {Off-screen sound}
We hear the door of the room creaks open, and the
The Beautiful City kiosk owner grunts. (Farhadi 2014, 118) {Off-screen
sound, De-acousmatization}
Short synopsis: At a juvenile detention centre, The doorbell rings. (Farhadi 2014, 118)
a group of teenagers led by A’la gather to celebrate {Off-screen sound}
Akbar’s 18th birthday. Akbar is on the death line for The murmuring of the clients comes from outside.
murdering a girl two years ago, and now is the time (Farhadi 2014, 119) {Off-screen sound, ambient sound}
for his execution. A’la and Akbar’s sister (Firoozeh) Firoozeh whispers something from outside the
persistently try to gain the plaintiff’s consent frame. (Farhadi 2014, 126) {Off-screen sound}
(Abolghasem, the victim’s father). The reluctant father The imam’s preaching comes from the loudspeakers.
goes to court to speed up the execution, but they tell (Farhadi 2014, 128) {Off-screen sound}
him he must wait and prepare the blood money for The sound of people sending Salawat comes from
taking Akbar’s life. Abolghasem does not afford it, so the mosque. (Farhadi 2014, 128) {Off-screen sound}
he tries to finance it from the local mosque, but no one A pleasant song is playing. (Farhadi. 2014, 129)
is willing to sign the required testimony. {Diegetic sound, Off-screen sound}
Meanwhile, Firoozeh - separated from her addicted A’la and Firoozeh are walking by the railroad,
husband - and A’la fall in love in the course of the film. coming ahead through the deep silence of the night.
Abolghasem’s wife, who prefers to take her deceased (Farhadi 2014, 131) {Ambient sound}
daughter’s blood money to spend it on her disabled The door is unlatched. We hear the conversation
daughter’s treatment, asks Abolghasem to consent. between Abolghasem and some other men. (Farhadi
But now, Firoozeh is the one who cannot afford the 2014, 133) {Off-screen sound}
blood money to pay for his brother’s release. After The sound of Azan comes. (Farhadi 2014, 134)
consulting with her brother, Abolghasem’s wife lays {Off-screen sound, ambient sound}
down one condition to forget about the blood money: Now Abolghasem’s weeping comes from inside the
A’la, who seems like a capable young man, should room. (Farhadi 2014, 139) {Off-screen sound}
marry her disabled daughter. She tells Firoozeh about The only sound is the creaking of a cradle. (Farhadi
this condition and asks her to arrange this marriage. 2014, 147) {Off-screen sound}
A’la, who does not know about the condition yet, tells The sound of a motorbike comes from the alley.
Firoozeh that he intends to provide the blood money (Farhadi 2014, 149) {Off-screen sound}
in any way possible, but Firoozeh bitterly opposes The doorbell rings. (Farhadi 2014, 151)
the idea. When A’la knows about Abolghasem’s {Off-screen sound}
family’s intentions, he asks Firoozeh to make the Children are enjoying their break time in the
final decision. Firoozeh pretends that she does not noisy yard. (Farhadi 2014, 153) {Off-screen sound,
love A’la. The social workers of the detention centre ambient sound}
are also not able to dissuade Abolghasem about his Abolghasem’s wife is sitting on the porch. She hears
condition. A’la goes back to Firoozeh, but she does not Ghafouri’s voice coming from inside. (Farhadi 2014,
open the door to him. 155) {Off-screen sound}
The noise of the young crowd comes from the yard Abolghasem’s wife (O.S.): Don’t stand at the door!
of the detention centre. (Farhadi 2014, 87) {Off-screen Come here! (Farhadi 2014, 156) {Off-screen sound,
sound, ambient sound} De-acousmatization}
Akbar hears A’la, who came here to see him. The doorbell is constantly ringing. (Farhadi 2014,
(Farhadi 2014, 89) {Off-screen sound} 156) {Off-screen sound}
The children’s joyous hubbub comes from outside. The sound of the last ringing. A’la does not get
(Farhadi 2014, 92) {Off-screen sound, ambient sound} any answer. A loud train passes. (Farhadi 2014, 157)
{Off-screen sound}
AVANCA | CINEMA 2021

Fireworks Wednesday The sound of filling the kettle while Simin is

softly singing a sweet song. (Farhadi 2014, 192)
Short synopsis: The New Year is coming, and {Off-screen sound}
everybody is busy with spring cleaning. A newly Roohi (O.S.): Do you have any children? (Farhadi
engaged young housekeeper (Roohangiz or Roohi) 2014, 192) {Off-screen sound}
goes to the flat of a middle-class family on Fireworks The doorbell rings. (Farhadi 2014, 193)
Wednesday. The tense and sad mood prevailed {Off-screen sound}
in the house goes hand in hand with the boisterous Simin walks towards the door and turns down
Fireworks Wednesday to create a stressful and fragile the music. (Farhadi 2014, 193) {Diegetic sound,
atmosphere. Mozhde, the housewife, who is wearing all Off-screen sound}
black, looks nervous. She suspects that her husband The sound of closing the toilet door and a little
is having an affair with a neighbour causing their later Mozhde’s doorbell ringing. (Farhadi 2014, 199)
marriage to fall apart. In the end, the woman seems {Off-screen sound}
to forgive her husband, and they make reconciliation Roohi closes her eyes and listens to the
before the New Year. However, the characters of this different sounds of the city. (Farhadi 2014, 202)
story will continue to be lonely and distant. {Off-screen sound}
The only thing that breaks the silence of the winter is The plane’s sound is still coming from afar, and
the voices of those who talk and laugh. (Farhadi 2014, then we hear the sound of closing the main door. The
162) {Ambient sound} sound of the aircraft taking off. (Farhadi 2014, 202)
A young man is sitting at a desk answering the {Off-screen sound}
never-ending phone calls. (Farhadi 2014, 163) The noise of the children comes from the yard.
{Off-screen sound} (Farhadi 2014, 206) {Off-screen sound}
As Roohi enters, we hear the sound of clapping The doorbell rings. (Farhadi 2014, 216)
coming from the room. (Farhadi 2014, 165) {Off-screen sound}
{Off-screen sound} The sound of closing the door comes from
The phone rings. (Farhadi 2014, 165) outside and immediately the sound of a quarrel
{Off-screen sound} between Mozhde and Morteza. (Farhadi 2014, 218)
A woman’s voice comes through the door phone. {Off-screen sound}
(Farhadi 2014, 168) {Off-screen sound} The sound of firecrackers and fountains comes from
The sound of opening the door. (Farhadi 2014, 168) everywhere. (Farhadi 2014, 224) {Off-screen sound,
{Off-screen sound} ambient sound}
A knock on the door. (Farhadi 2014, 169) The sound of firecrackers in the park is too high.
{Off-screen sound} (Farhadi 2014, 226) {Off-screen sound, ambient sound}
Morteza closes his eyes. The sound of the vacuum The sound of firecrackers and the noise of
cleaner disturbs his momentary peace. (Farhadi 2014, children come from further away. (Farhadi 2014, 228)
170) {Off-screen sound} {Off-screen sound, ambient sound}
Morteza wakes up to the sound of the door. (Farhadi Now the noise outside is getting farther and quieter.
2014, 171) {Off-screen sound} (Farhadi 2014, 228) {Off-screen sound, ambient sound}
The sound of the vacuum cleaner arouses his We hear the car door opens. (Farhadi 2014, 228)
curiosity, so he peeks into the room. (Farhadi 2014, {Off-screen sound}
171) {Off-screen sound} The sounds from outside are clearer. (Farhadi 2014,
Mozhde knocks on the door of the caretaker’s 228) {Off-screen sound, ambient sound}
room. The voice of a few children comes from inside. The sound of someone climbing the car and
(Farhadi 2014, 174) {Off-screen sound} closing the door. (Farhadi 2014, 228) {Off-screen
A distant sound of a telephone comes sound, acousmetre}
from a neighbouring flat. (Farhadi 2014, 180) Morteza watches Simin leave in the mirror, amidst
{Off-screen sound} the noise of children playing with fireworks. (Farhadi
Mozhde puts his ear to the door. She hears a faint 2014, 228) {Off-screen sound, ambient sound}
sound. (Farhadi 2014, 180) {Off-screen sound} We hear the sound of the motorcycle driving away.
We hear the woman’s voice from the next door, (Farhadi 2014, 231) {Off-screen sound}
the same voice we heard before, through the door The sound of the firecracker is loud and makes
phone. (Farhadi 2014, 182) {Off-screen sound, Simin jump. (Farhadi 2014, 231) {Off-screen sound}
De-acousmatization} Some car alarms are activated, causing a horrible
The sound coming from the door phone cuts off. noise while Simin passes by. (Farhadi 2014, 231)
(Farhadi 2014, 183) {Off-screen sound} {Off-screen sound}
The doorbell rings. (Farhadi 2014, 185) The sound of fireworks is still coming. (Farhadi
{Off-screen sound} 2014, 232) {Off-screen sound, ambient sound}
We hear Mozhde and her mother greet at the
entrance. (Farhadi 2014, 185) {Off-screen sound}
Mojdeh goes to the bathroom when she hears
Simin’s main door closes. (Farhadi 2014, 189)
{Off-screen sound}
 Capítulo II – Cinema – Cinema

About Eli The sound of Alireza and others opening the door
and entering the living room. (Farhadi 2014, 454).
Short synopsis: The film tells the story of a couple {Off-screen sound}
of friends who travel to the north to spend their In the living room, everyone is relieved to hear
holidays. Ahmad is back in Iran after living many Sepideh’s voice. (Farhadi 1393, 455) {Off-screen sound}
years in Germany, and now his friends are trying to The Man (O.S.): Is it her? (Farhadi 1393, 456)
find a proper wife for him. That is why Sepideh invited {Off-screen sound, acousmetre}
a kindergarten teacher (Eli) to join them. But after Eli
disappears on the beach, the story turns into a tragedy. A Separation
Everyone starts to blame the others, and when Eli’s
fiancé arrives, they try to persuade Sepideh to paint a Short Synopsis: Simin is ready to migrate from Iran
negative image of Eli for him. with her husband, Nader, and their daughter, Termeh.
The sound of flowing traffic comes from inside a But Nader does not want to leave his father, who has
charity box installed on the roadside. (Farhadi 2014, Alzheimer, alone. As a result, Simin files for divorce,
367) {Off-screen sound, ambient sound} but the court rejects her request to have custody
The occasional sound of a car braking. Some coins of their daughter, so Termeh has to return to her
and banknotes fall into the box. (Farhadi 2014, 367) father’s house. To take care of his father, Nader hires
{Off-screen sound, ambient sound} a housekeeper (Razieh). Razieh, who is pregnant,
Someone calls the old woman from inside, and she accepted the job without telling her husband (Hodjat)
goes in. (Farhadi 2014, 374) {Off-screen sound} about it. One day, Nader returns home to find his
The children are responding all at once, but the father on the ground with his hands tied to the bed
sound of the sea almost covers their voices. (Farhadi with a scarf and left alone. When Razieh returns, a
2014, 377) {Off-screen sound, ambient sound} fierce fight ensues, the consequences of which not
Voices of children comes from outside. (Farhadi only ruin Nader’s life but also change his daughter’s
2014, 377) {Off-screen sound} image of him. Razieh is taken to the hospital due to a
The sound of children laughing and joking comes miscarriage. She and her husband sue Nader for killing
from inside the villa. (Farhadi 2014, 384) {Off-screen the fetus. Simin and Nader separate, and now Termeh
sound, ambient sound} has to decide to choose to live with one of her parents.
The noise of children comes from inside. (Farhadi The door is open, and the clients’ voices and the
2014, 384) {Off-screen sound} corridors’ noise come from the next room. (Farhadi
Eli is standing in the kitchen and the sound of 2014, 461) {Off-screen sound, ambient sound}
children laughing and joking comes from afar. (Farhadi Judge (O.S.): What you are saying is not enough
2014, 391) {Off-screen sound} reason to get a divorce. (Farhadi 2014, 461)
Sepideh (O.S.): Did you find it, Eli, or should I come? {Off-screen sound}
(Farhadi 2014, 391) {Off-screen sound} Razieh (O.S.): Excuse me, madam! (Farhadi 2014,
Peyman is smoking. The sound of footsteps. 466) {Off-screen sound}
Peyman worriedly passes the smoke to Ahmad. The voice of the worker who took the piano
(Farhadi 2014, 391) {Off-screen sound, acousmetre} downstairs comes from the staircase. (Farhadi 2014,
The men are cheerfully playing volleyball at the back 467) {Off-screen sound}
of the villa. (Farhadi 2014, 394) {Off-screen sound} We hear the main door of the house opens. (Farhadi
Sepideh (O.S.): We came together, and we will go 2014, 473) {Off-screen sound}
back together. (Farhadi 2014, 396) {Off-screen sound} Termeh (O.S.): I don’t know. (Farhadi 2014, 481)
We hear the voices of the little girl, Nazi and Amir {Off-screen sound}
shouting Eli. (Farhadi 2014, 403). {Off-screen sound} Nader comes to the kitchen. He hears the doorbell.
Ahmad (O.S.): Sepideh... Sepideh...! (Farhadi 2014, (Farhadi 2014, 482) {Off-screen sound}
405) {Off-screen sound} Termeh (O.S.): Continuous. (Farhadi 2014, 484)
The sound of Nazi and Sepideh crying comes from {Off-screen sound}
the kitchen. (Farhadi 2014, 409) {Off-screen sound} The doorbell rings. (Farhadi 2014, 485)
Morvarid, who woke up to the quarrel between Amir {Off-screen sound}
and Sepideh, is scared and comes to the kitchen. Nader (O.S.): Give the Persian equivalent of the
(Farhadi 2014, 412) {Off-screen sound} following words. (Farhadi 2014, 485) {Off-screen sound}
The voice of Peyman and his wife fighting in The joyous noise of a crowd comes from outside.
whispers comes from the kitchen. (Farhadi 2014 420) (Farhadi 2014, 489) {Off-screen sound}
{Off-screen sound} We hear the main door of the house opens. (Farhadi
The sound of the crowded square, vendors, 2014, 490) {Off-screen sound}
passers-by and passengers waiting for a taxi. (Farhadi Ms Kalani (O.S.): Yes. Hello. (Farhadi 2014, 492)
2014, 434) {Off-screen sound, ambient sound} {Off-screen sound}
The sound of a car comes from outside the villa. Termeh (O.S.): No... (Farhadi 2014, 493)
Everyone comes to the window. (Farhadi 2014, 441) {Off-screen sound}
{Off-screen sound} Nader (O.S.): Take his clothes off! (Farhadi 2014,
494) {Off-screen sound}
AVANCA | CINEMA 2021

Termeh is standing by her father, worried. At the Bibliography

same time, we hear Razieh knocking on the door.
Nader pushes the door. He hears his father moaning. Articles:
(Farhadi 2014, 497) {Off-screen sound} Delaram, Farhad. 2016. “Acousmatic Sound Effects
Now in this situation, Razieh’s constant knocking in poetic cinema with a study of Bal (Honey) by Semih
has driven Nader mad. (Farhadi 2014, 497) Kaplanoğlu.” In Avanca Cinema International Conference
{Off-screen sound} 2016: 420-427 URL: http://www.avanca.org/EN/publicacao.
The door is half-open, and the ambient noise of the php
Ahadi, Mohammad Nasser. 2009. “Sounds to be seen,
clients comes from the next room. (Farhadi 2014, 506)
a critique on the book Sound and Music in Documentary
{Off-screen sound, ambient sound}
Films.” . 3. 2020; 2 (7 and 8) :201-212. URL: http://labr.
Simin goes to the phone. Nader’s message comes faslnameh.org/article-1-201-fa.html
from the answering machine. (Farhadi 2014, 514)
{Off-screen sound, diegetic music} Books:
Nader (O.S.): Hello... Termeh, dear!... I got caught Farhadi, Asghar. 2014. Seven screenplays by Asghar
here. They will keep me here tonight. (Farhadi 2014, Farhadi. Tehran: Cheshmeh.
514) {Off-screen sound} Chion, Michel. 2015. Audio-vision: sound on screen.
Hodjat’s shouting comes from the corridor. (Farhadi Translated by Mohammad Javad Mozaffarian. Tehran:
2014, 523) {Off-screen sound} Qoqnoos
We hear a neighbour explaining something to the Chion, Michel. 2017. The Voice In Cinema. translated by
officer while going upstairs and aggressive objections Fattah Mohammadi. Zanjan: Hezareh Sevom
of Hodjat before leaving. (Farhadi 2014, 533)
{Off-screen sound}
The sound of a noisy quarrel comes from the
school principal’s office. (Farhadi 2014, 535)
{Off-screen sound}
We hear the unlocking sound of the door of the
apartment. (Farhadi 2014, 550) {Off-screen sound}
The continuous ringing of the doorbell phone.
(Farhadi 2014, 554) {Off-screen sound}

Conclusion

Asghar Farhadi uses screenplay and its elements

as a tool for narrating his subjective world. The sound
has a special place in his works, a position derived from
emotional emphases and the creation of narratives
characteristic of his style. By examining Michel
Chion’s theories in Farhadi’s works and applying
these theories to his films, we can conclude that
Farhadi, knowing the role of sound and its elements,
uses it precisely in writing his screenplays. The use
of sound in his works complements the visualised
text and creates a dramatic situation in each scene.
Farhadi uses off-screen sound in his works to develop
an emphatic atmosphere for the events of the scene.
Farhadi uses natural ambient sounds to present a real
world based on his style.
Other features of writing sound in Asghar
Farhadi’s screenplays include making the location
understandable for the sound crew so that they
can choose the proper technical tools and give the
sound designers and mixers a variety of selections to
design the most suitable audio space even before the
production begins.