Leeuwen (1999) discusses how in the film The Piano (1993), the traditional hierarchy of the sound scape shifts during the scene in which Stewart (Sam Neil) chops off Ada’s (Holly Hunter) finger with an Axe. In this scene the music is the Figure sound, while the screams, and the sound of rain, fade into the background. This technique is used to relate the audience to the inner world of Ada (a mute, and piano master).

Another film I thought of that has an unusual sound scape is the film Blade Runner (1982). In Blade Runner, the Field sounds are complex and heavily accentuated, grabbing the attention of the viewer. Leeuwen’s (1999) article made me think about how the director, Ridley Scott  must have purposely chosen to bring the audiences attention the the background sounds because of the film’s futuristic, apocalyptic nature. The sounds are a mix of normal city sounds, foreign city sounds and abnormal futuristic sounds.

Another example is Atonement (2007) which uses a technique very similar to The Piano (1993), by bringing the music to the Figure, immersing the viewer completely. The soundtrack has been created to sound like a type writer, which helps the audience relate to the world of the protaganist, Briony (Saoirse Ronan) who is an avid writer. See from 00:40 onwards: 

I watched both of these films a few years ago and at the time they struck me because of their unusual soundscapes/soundtracks. Reading Leeuwen’s article made me think more about me think more about the directors’ intentions when creating these films.

References:

Leeuwen, Theo van. 1999, ‘Perspective’ in Speech, music, sound, Macmillan Press ; St. Martin’s Press, Houndmills, Basingstoke, Hampshire ; New York, pp. 12-34.