Lesson 5 - audio codes
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This document discusses different types of audio codes used in films including dialogue, music, and sound effects. It defines diegetic sound as sound that is part of the film world, while non-diegetic sound has been edited in, such as background music. Parallel sound mirrors the mood of a scene, while contrapuntal sound creates tension by not fitting the scene. Off-screen sounds are used to move the narrative forward, such as investigating a distant scream in the woods at night.
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This document provides information about analyzing sound in films. It defines key sound terminology like diegetic and non-diegetic sound, parallel and contrapuntal sound, and on-screen and off-screen sound. Examples are given of different types of sounds used in films and how they can be used to move the narrative, set mood, or make the audience feel uncomfortable. The document also discusses Foley studios and how realistic sounds are added to films.
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This document discusses different types of audio codes used in films including dialogue, music, and sound effects. It defines diegetic sound as sound that is part of the film world, while non-diegetic sound has been edited in, such as background music. Parallel sound mirrors the mood of a scene, while contrapuntal sound creates tension by not fitting the scene. Off-screen sounds are used to move the narrative forward, such as investigating a distant scream in the woods at night.
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This document discusses different types of audio codes used in films including dialogue, music, and sound effects. It describes diegetic sounds that are part of the film's world and non-diegetic sounds edited in later. Diegetic sounds are further broken down into on-screen sounds whose source can be seen, off-screen sounds coming from outside the frame, and sounds that move the narrative forward. Non-diegetic sounds include background music, voice-overs, and computer generated or Foley studio sound effects. Parallel sounds mirror the mood of a scene while contrapuntal sounds create discomfort by not fitting the scene.
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This document defines various types of sounds that can be used in television and film, including ambient sound, asynchronous sound, dialogue, diegetic sound, incidental music, mode of address, non-diegetic sound, sound bridge, sound perspective, sound effects, soundtrack, synchronous sound, themes, and voice over. It provides descriptions of each type of sound to explain how it relates to what is seen and heard by characters within the story versus what is added for the audience.
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The document discusses the use of sound in film. There are two types of sound: diegetic, which comes from visible or implied sources within the story, and non-diegetic, which is added during editing. Sound can help set the mood and genre, manipulate audience emotions, and provide cues about characters' feelings and upcoming events. Horror film soundtracks commonly use suspenseful notes, changes in pitch, echoed voices, and alien and screaming effects to startle and unnerve the audience. When creating an opening sequence, appropriate music will be selected and edited to shots to successfully set the mood.
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This document discusses diegetic and non-diegetic sound in film. Diegetic sound has a source visible on screen, like dialogue between characters, and is not edited in. Non-diegetic sound does not have a visible source and is added in, like background music. Both diegetic and non-diegetic sounds can be used to add drama, emotion or suspense. Examples of diegetic sounds are music from a car radio or footsteps, while non-diegetic sounds include voiceovers or general sound effects.
Sound for video
Diegetic sound has a source on-screen and includes dialogue, footsteps, or other sounds that characters can hear. Non-diegetic sound does not have a visible source and includes added music, voiceovers, or sound effects. Both diegetic and non-diegetic sounds play important roles in storytelling - diegetic sounds further the plot while non-diegetic sounds can add drama or emotional impact.
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This document discusses diegetic and non-diegetic sound in film. Diegetic sound has a source visible on screen, like dialogue between characters, while non-diegetic sound does not have a visible source and is added later, like background music. Both diegetic and non-diegetic sounds can be used to add drama, emotion or suspense to a scene. Non-diegetic sounds are often employed to create atmosphere when a scene would otherwise be silent. The document provides examples and sources to further explain the differences between diegetic and non-diegetic sounds.
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This document provides information about analyzing sound in films. It defines key sound terminology like diegetic and non-diegetic sound, parallel and contrapuntal sound, and on-screen and off-screen sound. Examples are given of different types of sounds used in films and how they can be used to move the narrative, set mood, or make the audience feel uncomfortable. The document also discusses Foley studios and how realistic sounds are added to films.
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This document discusses different types of audio codes used in films including dialogue, music, and sound effects. It defines diegetic sound as sound that is part of the film world, while non-diegetic sound has been edited in, such as background music. Parallel sound mirrors the mood of a scene, while contrapuntal sound creates tension by not fitting the scene. Off-screen sounds are used to move the narrative forward, such as investigating a distant scream in the woods at night.
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This document discusses different types of audio codes used in films including dialogue, music, and sound effects. It describes diegetic sounds that are part of the film's world and non-diegetic sounds edited in later. Diegetic sounds are further broken down into on-screen sounds whose source can be seen, off-screen sounds coming from outside the frame, and sounds that move the narrative forward. Non-diegetic sounds include background music, voice-overs, and computer generated or Foley studio sound effects. Parallel sounds mirror the mood of a scene while contrapuntal sounds create discomfort by not fitting the scene.
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This document defines various types of sounds that can be used in television and film, including ambient sound, asynchronous sound, dialogue, diegetic sound, incidental music, mode of address, non-diegetic sound, sound bridge, sound perspective, sound effects, soundtrack, synchronous sound, themes, and voice over. It provides descriptions of each type of sound to explain how it relates to what is seen and heard by characters within the story versus what is added for the audience.
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The document discusses the use of sound in film. There are two types of sound: diegetic, which comes from visible or implied sources within the story, and non-diegetic, which is added during editing. Sound can help set the mood and genre, manipulate audience emotions, and provide cues about characters' feelings and upcoming events. Horror film soundtracks commonly use suspenseful notes, changes in pitch, echoed voices, and alien and screaming effects to startle and unnerve the audience. When creating an opening sequence, appropriate music will be selected and edited to shots to successfully set the mood.
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This document discusses diegetic and non-diegetic sound in film. Diegetic sound has a source visible on screen, like dialogue between characters, and is not edited in. Non-diegetic sound does not have a visible source and is added in, like background music. Both diegetic and non-diegetic sounds can be used to add drama, emotion or suspense. Examples of diegetic sounds are music from a car radio or footsteps, while non-diegetic sounds include voiceovers or general sound effects.
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Diegetic sound has a source on-screen and includes dialogue, footsteps, or other sounds that characters can hear. Non-diegetic sound does not have a visible source and includes added music, voiceovers, or sound effects. Both diegetic and non-diegetic sounds play important roles in storytelling - diegetic sounds further the plot while non-diegetic sounds can add drama or emotional impact.
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This document discusses diegetic and non-diegetic sound in film. Diegetic sound has a source visible on screen, like dialogue between characters, while non-diegetic sound does not have a visible source and is added later, like background music. Both diegetic and non-diegetic sounds can be used to add drama, emotion or suspense to a scene. Non-diegetic sounds are often employed to create atmosphere when a scene would otherwise be silent. The document provides examples and sources to further explain the differences between diegetic and non-diegetic sounds.
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Selective sound is used to emphasize key elements, ambient sound creates atmosphere, and sound bridges help transitions flow smoothly. Diegetic sounds belong to the world on screen like voices or doors, while non-diegetic sounds like music have no visible source. Synchronous sounds match the action, asynchronous sounds originate outside the scene, and contrapuntal sounds mismatch the visuals. Voiceovers guide the audience and theme music develops through the film.
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This document provides an overview of diegetic and non-diegetic sound in film. It defines diegetic sound as any sound that characters in the film can hear from within the film's world, such as dialogue, sound effects, and ambient noise. Non-diegetic sound includes any sounds added by the editor that characters cannot hear, like music and narration. Examples are provided of different types of diegetic sound, like external diegetic sound that the audience can hear but not see. The document also discusses how sound designers can use music that is parallel or contrasting to the visuals. Students are assigned tasks analyzing the uses of diegetic and non-diegetic sound in the opening scene of Sin City.
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Film sound is carefully designed and added during post-production to emphasize important elements and set the atmosphere. There are different types of sounds that can be used including selective sounds to highlight keys elements, ambient sounds to create a sense of place, and sound bridges to smoothly transition between sequences. Sound can be diegetic, existing within the film's world, or non-diegetic coming from outside the world, such as voiceovers, theme music, or musical scores which provide additional information or atmosphere.
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This document defines common audio and sound terminology used in film and media, including diegetic sounds that characters can hear, non-diegetic sounds added in post-production, synchronous sounds directly matched to images, asynchronous sounds that do not seem to come from the scene, incidental music, sound effects, soundtrack, dialogue, themes, voiceovers, and more.
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Diegetic sounds originate from visible on-screen sources and are audible to both characters and viewers, such as dialogue, footsteps, or music playing from a radio. Non-diegetic sounds do not have a visible on-screen source and are only audible to viewers, used to create atmosphere, mood, or narrate the storyline. Examples include background music or sounds added during editing. The Rear Window opening uses diegetic music from a radio. Baby Driver uses the protagonist's headphones to transition non-diegetic singing into diegetic sound.
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The document provides information on the cast and crew of a film production, including the protagonist, boy and girl child actors, a scary figure actor, the director and co-producer. It also defines different types of sound that can be used in films, such as diegetic sound that both the audience and characters can hear, non-diegetic sound only the audience can hear, dialogue, and voice overs used to guide or inform the audience.
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Diegetic sound comes directly from a scene, such as talking, noise from cars, or music from a radio. Non-diegetic sound is added during post-production, including music soundtracks and sound effects. This document discusses the differences between diegetic sound that originates in the scene, and non-diegetic sound that is added later during post-production.
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Selective sound is used to emphasize key elements, ambient sound creates atmosphere, and sound bridges help transitions flow smoothly. Diegetic sounds belong to the world on screen like voices or doors, while non-diegetic sounds like music have no visible source. Synchronous sounds match the action, asynchronous sounds originate outside the scene, and contrapuntal sounds mismatch the visuals. Voiceovers guide the audience and theme music develops through the film.
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The document discusses various concepts in sound design for film including different types of sounds like ambient noise, dialogue, and sound effects. It defines diagetic vs non-diagetic sounds and external vs internal diagetic sounds. It also discusses parallel vs contrapuntal sound and how silence is used in films. Students are tasked with continuing to write an essay analyzing the sound design of at least two scenes from a film by applying these sound design concepts and answering questions about how specific sounds are used to create mood, tension, and realism.
06. sound notes sheet
This document discusses elements of sound design in film. It identifies different types of sounds that could be heard in a film clip provided in the form of a list. It then explains key concepts in film sound including diegetic vs non-diegetic sound, synchronous vs asynchronous sound, and other techniques like selective sound, ambient sound, sound bridges, and voiceovers. The document aims to provide terminology to describe different types of sounds that can be used and their purposes in film sound design and mixing.
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The document discusses how sound is used in film to create mood, meaning, and tension through different sound elements. It instructs students to analyze how the opening scene of A Quiet Place uses sound design to set mood and build tension. Students are then tasked with analyzing two film scenes to compare how sound is used to create these elements and with producing soundtracks as foley artists and sound designers for segments of their interactive films.
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This document provides an overview of diegetic and non-diegetic sound in film. It defines diegetic sound as any sound that characters in the film can hear from within the film's world, such as dialogue, sound effects, and ambient noise. Non-diegetic sound includes any sounds added by the editor that characters cannot hear, like music and narration. Examples are provided of different types of diegetic sound, like external diegetic sound that the audience can hear but not see. The document also discusses how sound designers can use music that is parallel or contrasting to the visuals. Students are assigned tasks analyzing the uses of diegetic and non-diegetic sound in the opening scene of Sin City.
Sound notes sheet
Film sound is carefully designed and added during post-production to emphasize important elements and set the atmosphere. There are different types of sounds that can be used including selective sounds to highlight keys elements, ambient sounds to create a sense of place, and sound bridges to smoothly transition between sequences. Sound can be diegetic, existing within the film's world, or non-diegetic coming from outside the world, such as voiceovers, theme music, or musical scores which provide additional information or atmosphere.
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This document defines common audio and sound terminology used in film and media, including diegetic sounds that characters can hear, non-diegetic sounds added in post-production, synchronous sounds directly matched to images, asynchronous sounds that do not seem to come from the scene, incidental music, sound effects, soundtrack, dialogue, themes, voiceovers, and more.
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Diegetic sounds originate from visible on-screen sources and are audible to both characters and viewers, such as dialogue, footsteps, or music playing from a radio. Non-diegetic sounds do not have a visible on-screen source and are only audible to viewers, used to create atmosphere, mood, or narrate the storyline. Examples include background music or sounds added during editing. The Rear Window opening uses diegetic music from a radio. Baby Driver uses the protagonist's headphones to transition non-diegetic singing into diegetic sound.
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Diegetic sound is generated from within the narrative and includes dialogue and sound effects. Non-diegetic sound comes from outside the narrative and includes background music. Sound in TV dramas helps create atmosphere and mood for the audience by guiding their emotional response through music, sound effects, dialogue, and ambient noise. Different sound elements like themes, stings, and soundtrack also signify the genre and emotional emphasis of scenes.
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Sound in film is categorized as either diegetic or non-diegetic. Diegetic sound has a visible or implied source within the film's story, such as characters speaking or music from on-screen instruments. Non-diegetic sound comes from outside the story, including narration, added sound effects, or mood music not attributable to events on screen.
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This document defines and describes various types of sound that can be used in media, including diegetic sound that exists within the fictional world and non-diegetic sound that is heard by the audience but not characters. It also discusses synchronous and asynchronous sound, sound effects, motifs, bridges, dialogue, voiceovers, perspective, scores, incidental music, themes, stings, and ambient sounds. The document provides examples and brief explanations of these different elements to concisely outline key concepts relating to sound in media.
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This document discusses different types of sounds that are commonly used in film openings, including music, silence, diegetic/non-diegetic sounds, theme music, and dialogue/voiceovers. Music is often used to set the mood of a film, with tense music for horror and happy music for comedy. Some films feature diegetic sounds that become non-diegetic, like a typewriter sound in Atonement. Theme music can establish mood and era, like the western theme indicating the 1880s setting. Voiceovers are also used to connect audiences with characters' thoughts and feelings.
Characters
The document provides information on the cast and crew of a film production, including the protagonist, boy and girl child actors, a scary figure actor, the director and co-producer. It also defines different types of sound that can be used in films, such as diegetic sound that both the audience and characters can hear, non-diegetic sound only the audience can hear, dialogue, and voice overs used to guide or inform the audience.
Diegetic and non diegetic sound
Diegetic sound comes directly from a scene, such as talking, noise from cars, or music from a radio. Non-diegetic sound is added during post-production, including music soundtracks and sound effects. This document discusses the differences between diegetic sound that originates in the scene, and non-diegetic sound that is added later during post-production.
Different types Of Music Genres
In addition to this, you can even enhance the quality of sound of your recording with the help of ex...
Reece pettengell title sequence
A title sequence presents a film or television program's key credits at the beginning. It typically lists the production company, director, producer, executive producer, and top billed actors. The credits are usually shown over footage from the program while music may play. Title sequences follow a generally consistent order and style for credits but can vary in their specific transitions and placement of certain roles. For example, the producer may be near the end in some but the costume designer is often early. They aim to credit the important contributors while setting the tone for the program through imagery and music.
Category of effects
The document discusses different categories of audio effects and the sound properties they relate to. It introduces compressors, limiters, expanders, and noise gates, which are effects related to amplitude. Reverbs, delays, choruses, phasers, and flangers are effects related to propagation. High pass filters, low pass filters, band pass filters, parametric EQs, and graphic EQs are effects related to timbre. The purpose of the effects is to enhance songs by creating variations in sound that can affect a listener's mood.
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This document discusses conventions, or common features, in different genres of music videos. Some conventions that appear across genres include a relationship between the lyrics and visuals, the use of middle and long shots with close ups, and lip syncing to the song. Conventions can also include the relationship between music, color, and narrative simplicity. Specific genres like indie, hip hop, pop, R&B, and rock each have their own conventions around concepts, locations, dancing, clothing, and performance styles.
Shazam treball tecono
The Shazam app allows users to identify songs within one second of hearing a sample, providing the song title, artist, and options to listen to more of the song, view lyrics and videos, or purchase the song. The app also enables identification and discovery of TV shows, and allows users to save song clips, see lyrics while listening, share song tags on social media, and discover new music through friends and charts. The document encourages downloading the Shazam app to take advantage of its music and TV identification and discovery features.
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This document provides an overview of key concepts for film analysis, including mise-en-scene elements like costumes, lighting, setting, and performance; cinematography techniques such as shots, angles, and camera movement; sound aspects like diegetic and non-diegetic sound; and editing techniques like pacing, transitions, and shot composition. It also instructs the reader to watch a film clip multiple times, highlights the importance of case studies, and provides guidance on self-assessment.
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This document discusses representations of age in media. It provides stereotypes used to portray youths and old people, such as youths being portrayed as criminals and old people as frail. It examines how these stereotypes are socially constructed and their wider implications, including how they can lead to moral panics over certain groups. Examples discussed include the TV show Top Boy and the character Nan from Catherine Tate's show.
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The document discusses various technical codes used in film and photography including lighting, camera angles, and color. It explains how different lighting techniques like low key, high key, and under lighting can create moods and atmospheres or make characters look threatening. It also discusses how camera angles like top lighting and back lighting can influence how a subject appears. Color is discussed as a way to invoke emotions and target audiences, with different hues associated with feelings like danger, passion, and innocence. The purpose of analyzing these codes is to understand how they are used and their effects on the audience.
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Genre is a useful concept for categorizing different types of media based on shared characteristics, conventions, narratives, and styles. While genres can overlap and evolve over time, they provide a framework for understanding and discussing media works.
Media Language Lesson 1 - intro and camera shots
This document provides an overview of key concepts in media studies related to textual analysis. It defines media texts and various production elements like camera shots, angles, and movement that can be analyzed. Examples are given of different shot types like close-ups, establishing shots, and angles like high and low angles. Camera movement techniques such as panning, tilting, zooming, and tracking are also outlined. The purpose is to introduce students to the technical codes that will be examined in their media studies course and mock exam.
AS Media Lesson 4 - Feminism
WJEC, Media Studies, Representation, Gender, Stereotypes, Feminism, Masculinity, media gender theories
Lesson 12 - Age
This document discusses representations of age in media and identifies relevant theories. It provides lists of positive and negative stereotypes about youths and old people portrayed in media. Key points discussed include moral panics theory by Stanley Cohen about how media stigmatizes certain groups, cultivation theory by George Gerbner about media influencing social perceptions, and how working class males are often negatively represented as "yobs" in media.
Media Language Lesson 6 - semiotics
The document discusses the concepts of denotation and connotation as they relate to the word "heart." It explains that the denotation of heart is a muscle, pump, blood, organ, and body, while the connotations include love, feelings, romance, and sweet. The document also explores how mise-en-scene, or visual elements like setting, costume, lighting, and positioning, can be used to convey meaning and symbolism in film.
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Lesson 1 Media concepts - Representation & mediation
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Lesson 2 - Representation - Gender and stereotypes
Similar to Lesson 5 - audio codes
Lesson 3 sound
This document discusses sound techniques in film. It defines diegetic and non-diegetic sound and provides examples. Non-diegetic sound, like music, can establish mood, atmosphere, and meaning without being part of the film's world. Diegetic sound belongs to the film's world and can reveal characters' states of mind. The document analyzes the non-diegetic score in Jaws, which builds tension without showing the shark. It also discusses how diegetic sounds in Rear Window establish the setting and protagonist's detached frame of mind. Sound can create meaning by enhancing emotion, setting mood, and identifying characters.
Sound lesson 2011
The document discusses sound in media studies and analyzes the sounds used in the film Arlington Road. It defines key sound terminology such as diegetic and non-diegetic sound, and explains how sound can be used to create meaning, represent characters, set locations and periods, parallel action, and establish atmosphere. Students are asked to note the diegetic and non-diegetic sounds in a clip from Arlington Road, and to create their own soundtrack for a sequence that includes both types of sounds.
Sound
Film sound is carefully designed and added during post-production to enhance the visuals and atmosphere. Sound can be diegetic, naturally occurring sounds from within the scene, or non-diegetic, sounds added from outside the scene like music or effects. Film sound is mixed and edited to emphasize important sounds and maintain the intended atmosphere through selective sound, ambient sound, sound bridges, and effects. It can also be synchronous to match actions, asynchronous like music scores, or contrapuntal to create alternative meanings.
Sound sheet
The document discusses different elements of sound design in films. It identifies various sounds that can be heard in a film clip, such as piano music, horse carriages, drums, and gunshots. It explains that while some sound is recorded on set, most film sound is added during post-production. Film sound is carefully mixed and edited to emphasize important sounds and create the proper atmosphere for each sequence. Some other elements of sound design discussed are diegetic versus non-diegetic sound, synchronous versus asynchronous sound, voiceovers, theme music, and musical scores.
06. sound notes sheet
The document discusses different elements of sound design in films. It defines diegetic and non-diegetic sound, with diegetic sound existing within the world of the film and non-diegetic coming from outside. Film sound is carefully crafted in post-production to emphasize important sounds and maintain atmosphere. Selective sound is used to highlight key audio, while ambient sound creates a sense of place. Sound bridges and effects also help with transitions and realism.
Sound Notes Sheet
Film sound is carefully designed and mixed in post-production to emphasize important sounds and set the atmosphere for scenes. Sound can be either diegetic, existing within the film's world, or non-diegetic, coming from outside the world. Selective sound is used to highlight key audio elements while ambient sound creates a sense of place. Elements like sound bridges, effects, and voiceovers can help transitions, add realism or psychological impact, and guide the audience.
Sound
The document defines and describes various types of sound that can be used in television and film production. It discusses diegetic sounds that come from the world of the story versus non-diegetic sounds added for emphasis or mood. It also covers ambient sounds, sound bridges, motifs, voiceovers, soundtracks, scores, dialogue, synchronous versus asynchronous sounds, sound effects, mixing, perspective, incidental music, themes, and direct address. The overall framework provided suggests writing about the type of sound used, why that editing choice was made, describing the specific sound or song, and how it impacted representations.
06. sound notes sheet
The document discusses different types of sound used in film production and identifies sounds in an excerpt from Sherlock Holmes. It describes diegetic sound as any noise that exists within the world of the film, like characters talking, while non-diegetic sound is added later in post-production, such as music and narration. Film sound is carefully mixed and different types are used to emphasize elements, create atmosphere, or help with scene transitions. Examples of specific sound elements identified in the Sherlock Holmes excerpt include the non-diegetic theme music, and diegetic noises like horses, crows, and characters whispering.
06. sound notes sheet
Film sound is carefully designed and added in post-production to emphasize important elements and set the atmosphere. There are different types of sounds - diegetic sounds come from within the scene while non-diegetic sounds are added externally. Sound can also be synchronous to match actions, asynchronous to come from outside the scene, or contrapuntal to create alternative meanings. Elements like voiceovers, theme music, and musical scores are also used to convey information, characters, and atmosphere.
Sound
The document analyzes the sound used in a film clip, listing various sound effects used throughout the sequence. It then defines key terms related to sound in film, including selective sound to emphasize elements, ambient sound to set atmosphere or place, and sound bridges to help transitions between sequences flow more smoothly. Digetic sounds have a visible or implied source in the scene, while non-digetic sounds like added music do not originate from within the film's world.
sound notes sheet
This document discusses the use of sound in films. It explains that sound is carefully crafted in post-production to emphasize important sounds and set the proper atmosphere. Sound can be diegetic, meaning it exists within the world of the film, or non-diegetic and comes from outside the film. Examples of each type are provided. The document also discusses other sound design elements like synchronous and asynchronous sound, and how sound is used to guide the audience's understanding.
06. sound notes sheet (1)
The document discusses different elements of sound design in film. It identifies various types of sounds that can be used, including diegetic sounds that exist within the world of the film and non-diegetic sounds from outside the world. Film sound is carefully crafted in post-production to emphasize important sounds and create the right atmosphere. Examples of different sound techniques are provided, such as using sound bridges between scenes, synchronous sounds that match the visuals, and asynchronous non-diegetic music. The document also gives examples of diegetic and non-diegetic sounds identified in Sherlock Holmes.
Sound notes sheet
Film sound is carefully designed and added during post-production to emphasize important sounds and maintain the intended atmosphere. There are different types of sounds that serve different purposes, such as selective sounds that highlight key elements, ambient sounds that set the scene, and sound bridges that smoothly transition between scenes. Sound can exist within the world of the film (diegetic) or come from outside of it (non-diegetic), and it can be synchronous to match actions or asynchronous to enhance the scene. Elements like voiceovers, theme music, musical scores, and silence are also used strategically to guide the audience and create certain effects.
03 sound notes sheet
Film sound is carefully designed and plays an important role similar to visual elements. Most film sound is added during post-production rather than being recorded on set. Sound is mixed to emphasize important sounds and create the right atmosphere for each scene. There are different types of sounds, including diegetic sounds that come from visible or implied sources within the story and non-diegetic sounds from outside the story. Film sounds can also be synchronous to match actions, asynchronous from outside the story world, or contrapuntal to create different meanings by clashing with the visuals. Sound designers use a variety of techniques to guide the audience and reinforce narrative elements and character personalities.
06. sound notes sheet
This document discusses the use of sound in film. It explains that sound is carefully controlled and added during post-production even if recorded on set. Film sound is mixed to emphasize important sounds and maintain the proper atmosphere for each sequence. There are different types of sounds like selective sounds to highlight key elements, ambient sounds to set the mood or place, and sound bridges to smoothly transition between scenes. Sound can be diegetic, existing in the world of the film, or non-diegetic, coming from outside the film like voiceovers or scores. Synchronous sound reinforces actions while asynchronous comes from outside the narrative.
Lesson 2 sound in film and tv
This document discusses different elements of sound design in film and television. It begins by explaining how sound must be carefully mixed to emphasize important sounds and set the proper atmosphere for a scene. It describes different types of sounds like selective sound, ambient sound, sound bridges, sound effects, theme music, and musical scores. It defines diegetic sound as any sound coming from a source visible or implied to be present in the story, and non-diegetic sound as any sound from a source outside the story world. Finally, it provides other sound-related terms like voiceover, synchronous sound, asynchronous sound, and contrapuntal sound.
Sound presentation
The document discusses various aspects of sound presentation across different mediums. It covers how sound is used in film, television, web, hand-held devices, video, animation, and for interviews. Key points include that dialogue is often recorded after filming in film and television, sound aims to immerse viewers, smaller television budgets affect sound quality, websites can include sound, and hand-held devices have limitations due to small speakers. It also discusses ambient sounds, music, sound effects, diegetic versus non-diegetic sound, and how sound is used to set mood and meaning.
06. sound notes sheet
Film sound is carefully designed and added during post-production to emphasize important elements and set the atmosphere. There are different types of sounds that serve different purposes - selective sounds highlight key elements while ambient sounds create a sense of place. Sound can also be diegetic, existing within the film's world, or non-diegetic from outside the world, like music or narration. During mixing, sounds are made synchronous or asynchronous to images and dialogue to reinforce or alter their meaning. Elements like voiceovers, theme music, and musical scores are also used to guide the narrative or set mood, while silence can build tension.
06. sound notes sheet
This document discusses different elements of sound design in film. It identifies various types of sounds that can be used, including diegetic sounds that come from within the story world and non-diegetic sounds from outside the story world. Selective sounds are used to emphasize key elements, while ambient sounds create atmosphere. Sound bridges help transitions and sound effects add realism or psychological impact. The document also discusses voiceovers, theme music, musical scores, silence and how identifying these elements can enhance analysis of films like Sherlock Holmes.
03 sound notes sheet
Film sound is carefully designed and mixed in post-production to emphasize important sounds and set the atmosphere. There are different types of sounds: diegetic sounds exist within the film's world while non-diegetic sounds come from outside. Synchronous sounds match the visuals while asynchronous sounds come from outside the diegetic reality, like musical scores. Other elements include voiceovers, theme music to introduce characters, and silence which is sometimes used provoke a reaction.
Similar to Lesson 5 - audio codes (20)
More from Elle Sullivan
MS4 - Paddington - Genre, Narrative and Representation
This document discusses themes of genre, narrative, representation, gender, age, ethnicity, nationality, social class, and immigration as depicted in the film Paddington. It analyzes how the film represents these concepts through characters like Paddington the bear, the Brown family, Mr. Curry the neighbor, and Millicent. It also examines how the film potentially challenges xenophobic attitudes towards immigrants expressed by some characters.
Lesson 10 - TV comedy mindmap Q4a & 4b
This document discusses two comedy channels and their differences in terms of being public service broadcast or commercial, their target audiences in terms of size, demographics, and socioeconomic factors. It also covers scheduling techniques for each channel including any differences in appeal based on weekday versus weekend as well as primetime versus post-watershed content. Specific programming examples are provided for each channel.
Lesson 9 - TV Comedy Q4b mark scheme
The document provides guidance for answering a question about how two television programs provide different audience pleasures, noting that higher levels require detailed examples from both programs for multiple pleasures discussed, while lower levels may cover fewer pleasures or only one program but still require some understanding of pleasures; it also provides two sample student answers with examiner comments on why they received the marks awarded.
Lesson 8 - TV Comedy Q4a mark scheme
This document provides the mark scheme for a question asking students to discuss the scheduling of two TV comedies. It outlines four levels of response with criteria for level of knowledge, use of terminology, understanding of industry contexts and channels, and quality of writing. It provides examples of student answers and explains why they would receive certain marks based on the level descriptors. The document is intended to help students understand what is required to achieve different marks for this question.
Lesson 7 - TV Comedy - Question 4b case study
This document provides guidance for a case study assignment on TV comedy programs. Students are instructed to photocopy and complete a handout comparing the different pleasures offered by two comedy programs, citing specific examples and episodes. The document outlines what higher, middle, and lower level answers should include, such as identifying and contrasting a range of pleasures like humor, narrative elements, and audience gratification. Students are advised to discuss pleasures, provide examples from episodes, and demonstrate understanding of how the programs differently please audiences.
Lesson 6 - TV Comedy audience pleasures
The document contains information about assignments that are due, including coursework, posters, evaluations, and homework. It discusses which students need to submit which assignments and provides instructions for the homework assignment, which involves analyzing two TV comedy programs in terms of their scheduling and how they provide different audience pleasures. The document contains sample questions and criteria that could be used to evaluate the homework.
Lesson 4 - TV Comedy audience
Here are 3 key terms I have learned today and could explain to the class:
1. Demographics - The classification of individuals or groups by age, gender, income, location and other socio-economic factors used to identify audience segments. Demographics provide basic attributes about a population but do not capture beliefs, values or motivations.
2. Maslow's Hierarchy of Needs - A theory developed by Abraham Maslow proposing that people are motivated to fulfill basic needs before moving on to other needs. The hierarchy typically displays these needs as physiological, safety, love, esteem and self-actualization needs that must be satisfied sequentially. This theory is used in advertising to appeal to different needs.
3. Young & Rubic
Lesson 3 - TV Comedy - Channels and scheduling
E4's branding emphasizes being "beautifully random, joyously daft and generally not taking things too seriously." OFCOM regulates all broadcasting channels in the UK to ensure they follow guidelines. Public service broadcasting (PSB) channels like the BBC are required to provide quality programming that reflects UK diversity and mixes genres, while avoiding repeated shows. Commercial channels primarily aim to attract large audiences to sell expensive advertising slots. Television scheduling strategies carefully plan what programs air when to target specific audiences.
Lesson 1 - TV Comedy idents
This document provides guidance and instructions for a media studies exam section on TV comedy. It outlines that Section B is worth 30 marks and will have two questions: 4(a) discusses the scheduling of one or two comedy programs on channels and 4(b) how the programs offer different pleasures to audiences. Students should be prepared to contrast two texts or discuss one text in detail using media key concepts. They should choose comedy programs from contrasting broadcasters like BBC1 and E4 to discuss how the programs link to the channel branding and audiences. The homework assigns watching two comedy programs, one from a mainstream channel and one from a younger channel, to use as case studies in the exam.
Lesson 2 - TV Comedy PSB
The document discusses different types of broadcasters in the UK including the BBC, Channel 4, and commercial stations. It explains that the BBC and Channel 4 have a public service broadcasting (PSB) remit where they aim to inform, educate, and entertain the public, while commercial stations solely aim to attract audiences to sell advertising. The BBC is publicly funded through television license fees, Channel 4 is publicly owned but commercially funded through advertising, and commercial stations are solely funded by advertising. There is ongoing controversy around funding models and whether the television license fee should continue.
Lesson 12 - Question 3 exam practice
The document provides a mark scheme for evaluating responses to a question about representation of characters in an extract. It outlines four levels of performance from 1 to 4, with level 4 being the highest. For level 4, the response would explore at least one representation issue thoroughly with examples from the text and clearly expressed ideas. Level 3 requires identification of one issue with understanding of representation and use of evidence. Level 2 describes representation aspects with some understanding and evidence. Level 1 shows minimal understanding of representation without using the concept of stereotyping and offers little evidence.
Lesson 11 - Action Adventure ethnicity and buddy movies
This document provides a rubric for assessing responses to questions about representation in media extracts. It outlines four levels of response with varying criteria for understanding, evidence, and writing quality. The highest level demonstrates thorough understanding of representation issues, offers a range of evidence, and is written clearly with few errors. The lowest level shows minimal understanding, minimal evidence, and ideas obscured by errors. Sample questions are provided about characters, genres, and technical elements used to create effects.
Lesson 10 - Female representation in Action Adventure films
The document discusses female representation in films and provides examples of how female characters can be categorized as empowered, sexually objectified, or stereotyped. It also includes a marking scheme for assessing answers on female representation with four levels of achievement.
Lesson 9 0 Action Adventure Representation
This document discusses representation and gender roles in action-adventure films. Traditionally, these films are aimed at male audiences and depict exaggeratedly masculine male heroes and stereotypical female characters. Women are often shown as damsels in distress or empowered but still sexually objectified. The camera will linger on women's bodies to gratify the male audience in what is called the "male gaze." However, some films now feature stronger female leads, though representation of men and women still tends to rely on stereotypes that enforce patriarchal expectations of gender roles.
Lesson 8 - Action Adventure archetypes
This document discusses the concept of an anti-hero in storytelling and asks the reader to identify which of several characters could be considered an anti-hero. It defines an anti-hero as a protagonist who lacks traditional heroic traits like idealism, courage, and morality. It also prompts the reader to name 3 archetypal heroes and explain why they fit that category.
Lesson 7 - Action Adventure jeopardy analysis
This document discusses key techniques used in action adventure films to create spectacle, jeopardy, and suspense. It outlines various special effects like models, makeup, stunts, and CGI. Conflict and combat scenes are examined, including fist fights, martial arts, and realistic portrayals of violence. Speed and motion are achieved through editing techniques and diegetic/non-diegetic sound. Jeopardy and suspense are generated by placing likeable characters in threatening situations and ending scenes on cliffhangers. The reader is tasked with providing examples of films that exemplify these concepts and analyzing how film techniques fit the action adventure genre in a sample clip.
Lesson 6 - Action Adventure jeopardy and suspense
The document discusses several key concepts related to narrative structure and genre analysis for action adventure films. It includes definitions of hybrids and sub-genres. It lists the 5 stages of narrative structure developed by Vladimir Propp and the 7 common character types identified by A.J. Greimas. It notes that Claude Levi-Strauss identified the key term "conflict" which drives narratives. Finally, it prompts analysis of how elements like soundtrack, camerawork, editing, and mise-en-scene are used to create effects fitting the action adventure genre.
Lesson 3 - Action Adventure Sub genres
The document discusses six sub-genres of action adventure films: fantasy, disaster, historical, quest, thriller, and swashbuckler. For each sub-genre, it provides examples of movies, common narrative conventions, and codes/iconography. Key information provided includes common elements of fantasy films like imaginary worlds and creatures, disaster films involving impending catastrophes, historical films set in real time periods, quest films involving searches, thriller films with suspense and deception, and swashbuckler films with sword fighting. The document encourages adding to a table summarizing each sub-genre.
Lesson 2 - Action adventure films intro
Here is a thriller sub-genre development of the blurb:
An elite team of CIA agents track a terrorist bomber in Antarctica in a race against time, because the sun is about to set for six months, leaving the killer in total darkness. With the bitter cold and harsh conditions working against them, the agents must use all their espionage skills to find the killer before he disappears without a trace. Iconography of the thriller sub-genre is evident with the focus on suspense as the agents work to outwit the terrorist in a remote icy location before the killer can vanish in the darkness, keeping vital information secret from the audience. It's a high stakes game of cat and mouse as the countdown to nightfall begins.
Lesson 1 Action Adventure Films - Exam requirements
This document outlines the course structure and content for a film studies course. It discusses that the course consists of three parts: an individual portfolio, an exam, and a production portfolio. It provides details on the exam, including that it will focus on action adventure films and TV comedy, last 1 hour and 45 minutes, and contain questions testing knowledge of genre, textual analysis, representation, institutions, and audience. It also introduces some key concepts to be covered, such as defining the action adventure genre and examining genre codes and conventions.
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Lesson 5 - audio codes
- 5. On Screen and Off Screen Sound On Screen sound – we can see the source of the sound Off screen sound – the source of the sound comes from outside the frame Helps move the narrative forward Example – Teenagers in the woods at night hear a scream in the distance so one person goes to investigate
- 6. Sound Diegetic sound - sound which is part of the film world you are watching - you can see the source of the sound Non diegetic sound –not part of the film - it has been edited in background music voice-over sound effect
- 7. Parallel sound – sound which mirrors the mood of what we are seeing Watch – Scream Opening
- 8. Contrapuntal sound – sounds that do not fit the scene, can make the audience nervous or uncomfortable Example – Skyfall Listen Now watch
- 9. Task: watch the clip What type of music is used? Is the sound parallel or contrapuntal? Why?
- 10. Sound re-cap What is meant by diegetic and non diegetic sound? What is the difference between parallel and contrapuntal sound? What is the purpose of off screen sound?