The decision by the Union Information and Broadcasting Ministry to exclude the sound mixing and sync sound categories from the National Film Awards this year has ignited a storm of controversy. Audiographers’ unions and sound designers are up in arms, accusing the ministry of making this significant decision unilaterally and without proper consultation with industry stakeholders.
Historically, until the year 2008, the National Film Awards only featured a single award under the sound category, namely for Best Audiography. However, in 2009, this category was expanded into three distinct awards to recognize the contributions of specific roles: location sound recordist, sound designer, and re-recordist of the final mixed track. This development was a triumph for many in the industry, who felt that these individual roles deserved recognition for their technical and creative contributions to cinema.
To their dismay, this progress seems to have taken a step back with the recent notification calling for entries for the 2022 National Film Awards. The three previously distinct categories have now been consolidated into a single award for Best Sound Designer. This abrupt change has raised eyebrows and fueled considerable discontent among industry professionals.
Renowned sound designer Resul Pookutty, who clinched an Academy Award for Best Sound Mixing in 2009, expressed his frustration and dismay to The Hindu. “The decision is illogical and displays a low level of understanding of the technicalities of sound in cinema. They have decided to drop these awards all of a sudden without any discussions with stakeholders. There have been instances in the past where films that were not shot using sync sound (sound recording during filming), were awarded for sync sound. Instead of rectifying these, they have taken out all these categories. We have been seeking appointments with Ministers to make them understand that this is unfair,” he lamented.
Jikku M. Joshi, who was responsible for the production sound mixing on the National Award-winning film Aattam, echoed similar sentiments. “It is discriminatory that the art of production sound is not valued.
. If the production sound mixer does not record the on-location dialogues and effects properly, the sound designer cannot create an aesthetic soundscape to aid the narrative. In the next step, the sound mixing engineer decides the way the film sounds in theatres and streaming platforms. These are different trades and the removal of any one out of the equation is unfair,” he asserted. Joshi underlined the crucial interdependence among these roles and how sidelining one undermines the entire process of sound design and mixing in cinema.
Supporting these views, Ajith Abraham George, vice president of the Cine Audiographers Association of Kerala, which is affiliated with the Film Employees Federation of Kerala (FEFKA), added his voice to the chorus of dissent. George highlighted that the FEFKA, along with sound engineers’ unions in Chennai and Mumbai, had sent representations following the issuance of the National Awards entry notifications. Regrettably, there has been no response from the I&B Ministry, the Directorate of Film Festivals, or the National Film Awards Cell, leaving many in the industry feeling ignored and undervalued.
“No committee is known to have recommended the dropping of these awards. So, whom did the government officials consult before taking such a decision?” George questioned. The lack of transparency and the apparent absence of a consultative process have only added fuel to the fire.
Interestingly, the Kerala State Film Awards continue to recognize excellence in sound by presenting awards in three separate categories. This consistency stands in stark contrast to the recent changes at the national level, further highlighting the contentious nature of this decision.
The uproar following the announcement has not gone unnoticed. The sound community continues to mobilize efforts to reverse this decision, striving to restore the recognition they believe is deserved for the artistry and technical expertise that goes into sound recording and mixing in films. There is a collective call for more dialogue, transparency, and a reevaluation of the awards structure to ensure that all facets of the sound design and mixing process are appropriately honored.
In sum, the recent exclusion of specific sound categories from the National Film Awards has sparked significant controversy, with many within the industry feeling unfairly marginalized. The sound professionals continue to rally for a reinstatement of these awards, seeking to ensure their craft receives the recognition and respect it merits.
