2. DIEGETIC SOUND
Sound whose source is visible on the screen or
whose source is implied to be present by the action of
the film:
◦ voices of characters
◦ sounds made by objects in the story
◦ music represented as coming from instruments in the
story space ( = source music)
Diegetic sound is any sound presented as originated
from source within the film's world Digetic sound can
be either on screen or off screen depending on
whatever its source is within the frame or outside the
frame. Another term for diegetic sound is actual sound
.
Diegetic sound in The Book
Theif is like the conversations
between Leisel and Roody.
3. NON DIEGETIC SOUND
Sound whose source is neither visible on the screen nor has been
implied to be present in the action:
◦ narrator's commentary
◦ sound effects which is added for the dramatic effect
◦ mood music
Non-diegetic sound is represented as coming from the a source
outside story space.
The distinction between diegetic or non-diegetic sound depends
on our understanding of the conventions of film viewing and listening.
We know of that certain sounds are represented as coming from the
story world, while others are represented as coming from outside the
space of the story events. A play with diegetic and non-diegetic
conventions can be used to create ambiguity (horror), or to surprise
the audience (comedy). Another term for non-diegetic sound is
commentary sound.
Roger Allam is a non diegetic
Sound in ‘The Book Theif ’ and
Speaks over the characters as death.
4. SYNCHRONUS/ASYNCHRONUS
Sound that appears to be matched to certain movements occurring in the scene, as when footsteps
correspond to feet walking. Synchronous sounds contribute to the realism of film and also help to create a
particular atmosphere. For example:The “click” of a door being opened may simply serve to convince the
audience that the image portrayed is real, and the audience-may only subconsciously note the expected
sound. However, if the “click” of an opening door is part of an ominous action such as a burglary, the
sound mixer may call attention to the “click” with an increase in volume; this helps to engage the audience
in a moment of suspense. Whereas asynchronous is sound which is indigenous to the action but not
precisely synchronized with the action. Asynchronous sound effects are not matched with a visible source
of the sound on screen. Such sounds are included so as to provide an appropriate emotional nuance, and
they may also add to the realism of the film. For example: A film maker might opt to include the
background sound of an ambulance's siren while the foreground sound and image portrays an arguing
couple. The asynchronous ambulance siren underscores the psychic injury incurred in the argument; at the
same time the noise of the siren adds to the realism of the film by acknowledging the film's (avowed) city
setting.
5. PARALLEL/CONTROPUNTAL
SOUND
Parallel sounds are sounds which we expect to hear with that genre/ image
Contrapuntal Sounds are sounds that don't seem to fit with the genre /image. For
example in a fight scene in a film you would not expect to hear classical music -that
would be Contrapuntal. However if a fast paced Rocky music it would be Parallel.
These are some examples of parallel and contrapuntal sound:
Contrapuntal, Resovoir for dogs: this scene is obviously sad and quite violent,
however the music over the top is happy and fun, disagreeing with the mood.
Paralell: Doctor who: The opening theme of doctor who sounds futuristic and
high-tech fitting with the sci-fi genre
6. AMBIENT SOUND
Ambient sound means the background sounds which are present in a scene or location. Common ambient sounds
include wind, water, birds, crowds, office noises, traffic, etc.
Ambient sound is very important in video and film work. It performs a number of functions including:
•Providing audio continuity between shots.
•Preventing an unnatural silence when no other sound is present.
•Establishing or reinforcing the mood.
There are several types of ambient sound used in film production. Their exact names and meanings may vary but these
are some common definitions:
•Matching ambient sound: Any ambient sound recorded to match the ambient sound of a scene.
•Wild sound: Background noise with distinct sounds, i.e. more than ambient sound, which is not synchronised with the
main vision. Example: Children playing in a playground.
•Buzz track: A general term for ambient sound.
•Room tone: The sound of an empty room, or a room in which all the actors are standing silently
7. SOUND BRIDGE/MOTIF
A sound effect or combination of sound effects that are associated with a particular character,
setting, situation or idea through the film. The sound motifs condition the audience emotionally for
the intervention, arrival, or actions of a particular character. The sound motifs can be very useful in
the rough cut, where they help clarify the narrative functions of the characters and provide a sound
association for those characters as we move through the story. The use of sound motifs can help
shape a story that requires many characters and many locations and help unify the the film and
sustain its narrative and thematic development.
A sound bridge is when the scene begins with the carry-over sound from the previous scene
before the new sound begin.s
