2. LUTHER SO FAR
• How has mise-en-scene been used in this scene to create
meaning?
• How has camerawork been used in this scene to create
meaning?
• How has editing been used in this scene to create meaning?
• What conventions of the crime drama can you identify in this
scene?
• To what extent are the characters in this scene typical of the
genre?
• To what extent are gender stereotypes used in this extract?
3. TO COME…
• How has sound been used in this scene to create meaning?
• How does this extract represent a version of reality?
• How do crime drama represent the concerns of the time in which they
are made?
• How do production processes influence crime drama?
• How might media regulation impact crime drama programmes?
• How might different audiences use crime drama to fulfil their needs?
• How might different audiences respond to crime drama
5. TYPES OF SOUND
• diegetic sound:
• dialogue including tone of voice, accent, words
used
• ambient sounds within the scene
• foley sound/sound effects
• non-diegetic sound
• soundtrack
• narrator’s voice over
6. WHAT CAN I COMMENT ON?
• Sound can help to create meaning
by:
• enhancing the audiences’ emotional
experience/providing emotional focus
• establishing the mood and atmosphere
of a location
• identifying characters/character types
7. JAWS
• View these two clips and think about how sound can completely
change the viewing experience
8. JAWS NON- DIEGETIC SOUND
• introduces threatening element in the film
• first shots underwater
• shark not seen but its presence is implied by the
soundtrack
• the score uses a series of low, repeated notes in order to
illustrate the relentless threatening nature of the shark
• the notes continue to build tension and anxiety for the
viewer, no resolution
THE NON- DIEGETIC SOUND IN THIS SEQUENCE
ESTABLISHES THE TONE, ATMOSPHERE, GENRE AND THE
MAIN THREAT WITHIN THE FILM.
10. NON-DIEGETIC SOUND & CHARACTER
can establish…
• evil or good
• victim or hero
• character regularly have a piece of music attached to them- called a
character theme
• can establish status
• a character can be signalled by playing their theme when not on screen
• Aural motifs (not music but repeated sounds)
• A character’s nervous state of mind could be conveyed through non-
diegetic sound (clattering of noise flinching)
• A sudden shift in the non- diegetic soundtrack of a film into a sequence
of long-held, low chords could indicate peril for a character
11. WORDS TO DESCRIBE MUSICAL SCORE
• dissonant
• harmonious
• harmonic
• orchestral
• slow tempo
• quick tempo
• frantic
tempo
• high pitch
• low pitch
• crescendo
• decrescendo
• soft tone
• loud tone
• quiet tone
• harsh tone
• piercing tone
13. KNOWLEDGE CHECK
• What is non-diegetic
sound?
A: sound that is part
of the film world e.g.
dialogue
B: sound that is
outside of the film
world e.g.
soundtrack
14. DIEGETIC SOUND
• How is the character’s state
of mind established through
sounds in the scene?
15. REAR WINDOW- DIEGETIC SOUND
• the first sounds we hear are what Jeffries can
hear: voices, jazz music, traffic sounds.
• we hear these as Jeffries would hear them, the
diegetic sound has a muffled echoing quality
• Jeffries is detached from the life going on
around him and in a bored frame of mind.
• the diegetic sound helps to establish this.
17. DIALOGUE
• Tone of Voice (authoritative, soft,
aggressive, sarcastic)
• Timbre (high, low, squeaky, gruff)
• Volume (quiet, loud)
18. CONTRAPUNTAL AND PARALLEL
SOUNDS
• Contrapuntal
• Where sounds and visuals are
contrasted
• Sound does not fit the events that
are happening on screen
• Creates confusion and can
disorientate the viewer into thinking
something else
• Sound can be used to create a twist
• Parallel
• Where sounds and visuals match
• Sounds we expect to hear
• Reflects the emotion of the scene
19. CONTRAPUNTAL SOUNDS
• LISTEN CAREFULLY to this scene
• How do you feel about the police officer? How would you describe
him?
