The aim of this thesis is to create an acoustic reinterpretation of a movie by Lars von Trier, which adds another dimension to the film and enriches it. The film, which is based on the DOGMA 95 principle, lends itself to the task since the sounds in the film are only based on original sound, and nothing has been dubbed.
Where does music enhance a scene, and how does it change the scene dynamics? Does the new sound enhance the film? Is sound necessary everywhere, or can it be omitted in places? How should the panning be handled, and how can an authentic sense of space be created? Highlights of this thesis include the new scoring and a workflow which was developed over the course of the project.