Chapter 5 from the Film Experience (Art of Cinema)
Terms in this set (44)
Has a visible onscreen source. Also known as onscreen sound.
Sound does not have a visible onscreen source. Known as offscreen sound.
when the sound and the image "say the same thing".
(contrapuntal sound) is when two different meanings are implied by these elements.
Sound's source is in the narrative world of film (Also known as source music)
sound that does not belong in the character's world.
refers to the world of the film's story, including not only what is shown but also what is implied to have taken place.
Greek meaning of diegesis
It is Greek for "telling" and is distinguished from "mimesis" meaning "showing".
half way between diegetic and nondiegetic. This includes character voiceovers such as his/her thoughts. (Also known as internal diegetic sound)
person involved to plan and direct the overall sound through to the final mix.
This takes place simultaneously with the filming of a scene.
this sound is made before filming to help to synchronize sound recordings and camera images.
microphones for recording synchronous sound (radio microphones) are placed and suspended over the action outside of the camera range.
sound captured directly by its source
sounds that come from the bounce of the walls and sets. Used to give a sense of space
process of editing sound after the cut of film is prepared
interacts with the image track to create rhythmic relationships, establish connections between sound and onscreen sources, and smooth or mark transitions.
when a sound carries over a visual transition in a film
process where the director consults with the composer and the picture and sound editors to determine where music and effects will be added.
They watch the projected film and simultaneously generate live sound effects-footsteps, the rustle of leaves etc on a foley stage. Named after the legendary Jack Foley.
Where the foley artists create their sound effects.
recorded after the fact and then synchronized with onscreen sources. is often preferred for the dialogue used in the final mix.
automated dialogue relpacement (ADR)
when actors watch the film footage and re-record their lines to be dubbed into the soundtrack (also known as looping because actors watch a continuous loop of their scenes).
the sound of the crowd. (got its name by asking the extras to murmur walla...)
the aural properties of a location when nothing is happening
Use of wall and room tone
may be used to cover any patch of pure silence in the finished film.
can only occur after the picture has been locked. It is when all three elements of the soundtrack (music, dialogue and effects) are combined.
is when the film's audience experiences the film's sound in theaters.
refers to the apparent distance of a sound source.
mixing character's speech simultaneously. Helps to give the effect of everyday experience of hearing multiple and competing speakers
refers to a voice that can be seen to originate from an onscreen speaker or form a speaker who can be inferred to be present in the scene but who is not currently visible. (such as a narrator)
same as voice-off except characters within the movie can not hear the voiceover.
on camera interviews, usually shot in medium close-up tell the documentary's story through experts or ordinary people
the visible coordination of the voice with the body from which it is emanating
(also known as background music) helps to emphasis what is happening in the story and onscreen.
a piece of music composed for a particular place in a film.
holes punched in the film to keep the beat of the action
is how music tells us what is happening int he plot
sounds that force us to notice the significance of something onscreen.
overillustrating the action through the score, such as accompanying a character walking on tip-toe with plucked strings
a person who selects and secures the rights for songs to be used in films
describes the range of scoring, sound recording, mixing and playback processes that strive for the unification of meaning and experience by subordinating sound to the aims of the narrative.
5 Principles of Sound continuity
1) The relationship between image and sound and among separate sounds is motivated by dramatic action or information.
2) With the exception of background music, the sources of sounds will be identifiable
3) The connotations of musical accompaniment will be consistent with the images (for example, a funeral march is unlikely to accompany a high-speed chase).
4) The sound mix will emphasize what we should pay attention to.
5) The sound mix will be smooth and emphasize clarity.
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