Abstract

The atmosphere created in a screenplay, how the screenwriter presents it, and how the reader perceives it are some of the most fundamental topics in studying the aesthetics of screenwriting, a significant part of which is writing audio descriptions. This paper discusses one of the most critical and necessary foundations of screenwriting - creating the auditory atmosphere of the film - in eight notable screenplays of Farhadi’s films based on Michel Chion’s theory with an emphasis on the elements of voice over, acousmatic, acousmetre, music and sound effects, and ambience. This theory deals with materialised signs of sound, which are the details that make us feel the tangible presence of the sound and also know what kind they are, and what the surplus-value is that the auditory atmosphere could never have had without being written down.