Sound in Film

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Sound in Films

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  • Star Wars – Intro Orchestration – What sort of movie is this going to be?
  • The Incredibles - http://www.youtube.com/watch?v=t5v2qBBD-gE Alien Ch 13 – The Dallas in the Duct / Air Vent – Listen to the diegetic sound and how they contribute to the atmosphere in the sequence
  • No Country for Old Men – Call it Frendo: http://www.youtube.com/watch?v=OLCL6OYbSTw
  • The Ipcress File: http://www.youtube.com/watch?v=pBCqP7R42K0
  • Chariots of Fire: http://www.youtube.com/watch?v=Sd7s6C6apUM or Vertigo: http://www.youtube.com/watch?v=kC5AzFc3coo
  • The Piano – The Sacrifice - http://www.youtube.com/watch?v=0Su8LXNS16A
  • Last of the Mohicans - http://www.youtube.com/watch?v=ah9XCamPyKA- Listen to music which captures both the mystery, wonder & scale of frontier American, and also uses instrumentation that reflect the cultural sense of the place – Scottish Folk Music Blade Runner http://www.youtube.com/watch?v=deA6FU1TwtY – Listen to how the feel of the music reflect the glittering beauty of the city
  • Star Wars – In the Death Star – Ch 37 – Orchestration shifts us between different stories within the narrative happening simultaneously
  • Apocalypse Now – Scene One – The Doors This is the End
  • Forrest Gump Memento
  • Contrapuntal Sound – Increasing the Horror Revervoir Dogs – Stuck in the Middle - http://www.youtube.com/watch?v=oeVhxSSPsac Millers Crossing (Ch10) – Danny Boy Contrapuntal Sound – Lulling the audience Full Metal Jacket - http://www.youtube.com/watch?v=VEWnJ5SC0rk
  • Jaws – The Ultimate lietmotif - http://www.youtube.com/watch?v=rW23RsUTb2Y The Man with no Name – The Final Show Down in The Good the Bad & The Ugly – Morricone interweaves three distinct leitmotifs
  • Spiderman – Uncle Ben dies – Listen for the shifting in and out of diegetic sound to give us narrative information ‘They’ve found the shooter’ or to heighten jeopardy – trucks / whizzing noise during chase. Rodrigo e Gabriela - http://www.youtube.com/watch?v=LpI2JSn2o0A – Great shift in sound perspective half way through from record player to speakers
  • Sound in Film

    1. 1. Textual Analysis
    2. 2.  Sound which comes from the world of the film (the diegesis).  Any event which occurs on or off screen which has a noise audible to the characters. Includes:  Dialogue  Ambient Sounds ▪ Sound Effects
    3. 3.  Diegetic sound is a highly effective at creating a sense of place and the nature of events (environment).
    4. 4.  Scripted speech:  Moves the story forward ▪ Emphasises events in the scene  Develops the audience’s sense of character ▪ Creates relationships & tensions
    5. 5.  Scripted speech:  Accent  Delivery  Vocabulary
    6. 6.  Sound which is not from any source within the diegesis (world of the film) but is added as an extra layer of sound in post production. Includes: ▪ Music ▪ Voiceovers
    7. 7. The feel of the film
    8. 8.  Interpret (emotionally) a feeling or sensation
    9. 9.  Create or enhance audiences’ understanding of and/or empathy with a key character.
    10. 10.  Echoes the nature of the place in which the film is set:  Scale  Culture  Mystery  Wonder
    11. 11.  Gives a sense of pace to the sequence, allows the audience to move follow the flow (climaxes / lulls) of the sequence and the overall film.
    12. 12.  Lyrics can be used in some cases to reflect the theme(s) of the film.
    13. 13.  Position the audience with a particular character  Understand their mental state  Give us narrative information  Trick us – The untrustworthy narrator
    14. 14.  Popular or classical music  Instrumentation  Rhythm  Tempo  Volume  Arrangement (Crescendos, Diminuendos)
    15. 15.  Parallel (matches emotions / events on screen).  Contrapuntal (contrasts / juxtaposes events / emotions on screen).
    16. 16.  Used to link two sequences together and is employed in conjunction with editing to move the action in time or place or both.  Can be diegetic or non diegetic sound.
    17. 17.  Character’s signature tune
    18. 18.  The quality of the sound changes depending on the audiences’ positioning in events.  Diegetic & Non-Diegetic can be made to fade into the background or fore grounded depending on the need / impact.

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