The recent decision to exclude the sound mixing and sync sound categories from the National Film Awards has ignited a significant controversy among the film fraternity. Audiographers’ unions and sound designers are up in arms against what they deem a unilateral and ill-considered decision by the Union Information and Broadcasting Ministry.
Historically, the National Film Awards have honored the craft of audiography. Until 2008, the awards had a single category for Best Audiography. A major development happened in 2009 when the sound category was divided into three sub-categories to recognize location sound recordists, sound designers, and re-recordists of the final mixed track. However, this year, the notification inviting entries for the 2022 National Awards revealed a startling change: the reinstatement of a singular category for Best Sound Designer. This decision has not gone down well with industry insiders.
“The decision is illogical and displays a low level of understanding of the technicalities of sound in cinema,” said Resul Pookutty, a sound designer who clinched the Academy Award for Best Sound Mixing in 2009. Speaking to The Hindu, Pookutty expressed his frustration over the unannounced and abrupt removal of the awards without any stakeholder consultations. He pointed out instances where films that did not use sync sound were still awarded for sync sound, indicating a flawed system that could have been corrected rather than dismantled.
Jikku M. Joshi, who handled the production sound mixing for the National Award-winning film *Aattam*, echoed similar sentiments. He described the decision as discriminatory and demotivating for professionals in the field. “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 on streaming platforms. These are different trades, and the removal of any one out of the equation is unfair,” Joshi elaborated.
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Ajith Abraham George, vice president of the Cine Audiographers Association of Kerala, affiliated with the Film Employees Federation of Kerala (FEFKA), pointed out the lack of communication and transparency from the authorities. According to George, representations were sent from FEFKA, as well as sound engineers’ unions in Chennai and Mumbai, after the National Awards entry notifications were issued. Yet, there has been no response from the Ministry of Information and Broadcasting, the Directorate of Film Festivals, or the National Film Awards Cell.
“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. He also pointed out that the Kerala State Film Awards continue to present sound awards in three separate categories, emphasizing the importance and recognition the state-level awards still give to different aspects of sound design.
Sound professionals argue that the decision undermines their expertise and the critical role they play in the film-making process. Each category within audiography encompasses unique skills and responsibilities that are essential to the creation of a film’s soundscape. The location sound recordists capture the ambient sounds and dialogues during filming, which is a critical first step. Sound designers then weave these elements into the film’s narrative, creating an immersive auditory experience. Finally, re-recordists of the final mixed track balance and enhance the audio to ensure it meets the cinematic standards for theatres and digital platforms.
The removal of these dedicated awards not only dilutes the recognition these professionals deserve but also discourages specialized talent from thriving in the industry. Proponents argue that each domain requires recognition to inspire and motivate emerging talent and sustain excellence in Indian cinema.
Thus far, the Ministry’s silence on the issue has only added to the frustration within the community. Audiographers and sound designers are calling for a reconsideration of the decision and a dialogue with the relevant authorities to understand the rationale behind such a move.
The broader impact of this controversy goes beyond awards and recognition—it touches on the importance of every cinematic craft being valued and appreciated. As the film industry marches forward with technological advancements and evolving aesthetic standards, the need for specialized skills in all areas, including sound, remains of utmost importance.
