Media language
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This document discusses key aspects of media language in film through quotes from famous directors and definitions of cinematic techniques. It provides quotes about film's ability to manipulate time from Tarkovsky and its betrayal of reality from Truffaut. Directors like David Lean and Federico Fellini discuss their storytelling through film. Techniques defined include mise-en-scene, mise-en-shot, editing styles like continuity and montage, and uses of diegetic and non-diegetic sound.
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This document discusses the micro and macro elements of film language. Micro elements include mise-en-scene, camera movements, diegetic/non-diegetic sound, and editing techniques. Macro elements include representation, genre, narrative, and audience. These elements work together to construct meaning and engage audiences in film.
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Documentaries aim to document real events using footage or reconstructions. They can use narration or rely on participants' perspectives. There are several types including fully narrated, fly on the wall, mixed, self-reflexive, docu-drama, and docu-soap. Documentaries employ techniques like observation, interviews, mise-en-scene, and dramatization to construct narratives that can be open or closed, linear or non-linear, single or multi-stranded in structure.
Michelangelo Antonioni - Blow Up Presentation for Fashion Film - GC CUNY 2014
1) The film Blow Up uses creative cinematography and framing to draw attention to the relationship between characters and their surroundings.
2) A key dress worn by Veruschka von Lehndoff appears almost liquid, emphasizing the tension between freedom and constraint in the changing boundaries between dress and body.
3) The film explores tensions between order and chaos, represented in the contrasting styles of dress between different characters and social groups.
Postmodernism and film
Postmodernist films are characterized by self-conscious use of styles and conventions, mixing of styles and media, and distrust of theories. They challenge mainstream narratives and aim to destroy audience suspension of disbelief. Key conventions include pastiche, flattened emotion, hyperreality, time bending, and altered states. Pulp Fiction and Run Lola Run are examples that blend genres, have nonlinear narratives, and reference other works. However, some philosophers criticize postmodernism as meaningless and unable to add analytical knowledge.
Research on Documentary Modes - Bill Nichols
This document discusses Bill Nichols' six documentary modes: poetic, expository, observational, participatory, reflexive, and performative. It provides examples for each mode and analyzes how elements of different documentaries could inspire the filmmaker's own documentary on social networks. While the filmmaker's style relates most to the expository mode using voiceover, they aim to present both positive and negative aspects of the topic to avoid being too authoritative. In conclusion, the filmmaker determines that reflexive mode is not the best fit but that interview-based elements could still influence their own documentary.
Experimental Film
Experimental films reject conventions of mainstream movies by exploring possibilities of the film medium itself. They have no set rules and can manipulate audiovisual elements in unconventional ways. Some key experimental filmmakers include Luis Bunuel, Maya Deren, and Stan Brakhage. There are various forms of experimental films, including abstract films that organize around visual elements, and associational films that juxtapose images to suggest concepts. When viewing experimental films, it is important to consider one's own expectations and how the film challenges conventions.
Cut or sequencing,kuleshov effect, colour in film , eastman
The document discusses various film editing techniques including jump cuts, cutaways, cross-cuts, and continuity cutting. It also covers Kuleshov's experiment which demonstrated that audiences derive emotional context as much from editing as from the content of individual shots. The document then discusses color film technologies like Technicolor and Eastmancolor and film sound concepts such as diegetic and non-diegetic sound.
01 Smartphone Movie Making
These slides accompany a University of Calgary class in Smartphone Movie Making in the School of Creative and Performing Arts
Mise en-scene
The document discusses various elements of mise-en-scene that contribute to how a film is perceived by audiences. Mise-en-scene includes everything visible in a scene from actors and costumes to lighting, setting and props. It is under the director's control and aims to convey meaning through realistic, symbolic or atmospheric visual choices. Specific mise-en-scene techniques are described like high-key lighting used in romantic films and low-key lighting for thrillers. Costumes, settings and plot structures can also influence audience interpretation and experience of a film.
Film
Film developed as an art form in the late 19th century with the invention of technologies like still photography, celluloid film strips, and early devices like the kinetoscope that allowed successive photos to be viewed as moving images. Over time, film evolved into a collaborative medium incorporating the work of directors, actors, cinematographers, editors and other roles. Directors work with ideas, images and effects to conceptualize scenes and express their vision, though they rely on entire production teams. Different film genres also emerged like silent comedies, gangster films, and others in response to technological advances and audience demand.
FILMS COMMUNICATION - HISTORY Still Pictures to Moving Images
The document provides an overview of the history and development of cinema from its earliest origins to modern techniques. It discusses how still images evolved into moving pictures using persistence of vision. Key early inventions and innovators that advanced cinema are described, such as the Kinetoscope, Lumieres' first film screening, and Eadweard Muybridge's pioneering work with sequential photography. Fundamental cinematic techniques and concepts are then explained, like the language of cinema using shots, mise-en-scene, sound, montage, and different types of montage.
Film studies
Film studies as an academic discipline emerged in the twentieth century, decades after the invention of motion pictures. Not to be confused with the technical aspects of film production, film studies exists only with the creation of film theory—which approaches film critically as an art—and the writing of film historiography. Because the modern film became an invention and industry only in the late nineteenth century, a generation of film producers and directors existed significantly before the academic analysis that followed in later generations.
Intro to Film: The Director
Discussion of the role of the director in the filmmaking process. Week 3 Lecture from Intro to Film at Lake Washington Institute of Technology.
Documentary genre
The document discusses different types of documentary genres including fully narrated, fly on the wall, mixed, self-reflexive, docu-drama, and docu-soap. It notes key features used in documentaries such as observation footage, interviews, mise en scene, dramatization, and exposition. The document also explains that while documentaries aim to document real events, there is still a high level of construction involved through directing participants and organizing footage.
Documentary genre
This document discusses different types of documentary films and their key features. It describes fully narrated documentaries that rely on a voiceover, fly on the wall documentaries that aim to show an unseen perspective, and mixed documentaries that use interviews and narration. It also mentions self-reflexive, docudrama, and docusoap documentaries. Key features that all documentaries contain according to the document are observation, interviews, mise-en-scene, dramatization, and exposition.
Filmterm stest
The document provides an overview of various film terms through examples and descriptions. It discusses shots, scenes, storyboards, and montages. It then examines specific shot types like long shots, medium shots, and close-ups. It explores camera movements including pans, tilts, and tracking shots. Finally, it covers editing techniques such as cuts, fades, dissolves, and jump cuts. In under 3 sentences, the document succinctly defines and illustrates several important technical film terms through examples.
Transcinema: The purpose, uniqueness, and future of cinema
This paper was presented the 2013 Key West International Multidisciplinary Academic Conference: www.isisworld.org/
The conference took place at Pier House Hotel from May 4 - 5.
Documentary research
This document discusses the six main types of documentaries:
1) Poetic documentaries use fragmented, impressionistic images and disrupt chronological timelines.
2) Expository documentaries directly address the viewer through voiceovers and titles to make an argument.
3) Observational documentaries simply observe real life with minimal intervention.
4) Participatory documentaries acknowledge the filmmaker's influence and include their interactions with subjects.
5) Reflexive documentaries draw attention to their own construction as representations of reality.
6) Performative documentaries emphasize subjective experiences and emotions through unconventional, poetic, or experimental styles.
Narrative
Narrative is the way a story is told through a sequence of events. Structuralist analyses have identified common character types like heroes and villains. Binary oppositions privilege one term over another. Narratives can be open-ended like soap operas or closed with a clear ending like films. Closed narratives invite audiences to make judgments about characters. Narrative elements include plot, character, point-of-view, setting, and theme. Theories explore concepts like narrative structure, codes and conventions.
Auteur theory
Auteur Theory suggests that the director's personal style, vision, and techniques are reflected in all of their films. This allows audiences to recognize a director's films based on recurring themes and techniques. Alfred Hitchcock is a prime example of an auteur, as his films are renowned for their intelligent plots, witty dialogue, mystery, and murder. Hitchcock revolutionized the thriller genre and was skilled at combining shots in ways that blurred the lines between montage and mise-en-scène techniques. Recurring themes in his work include innocent people getting caught up in circumstances beyond their control.
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Michelangelo Antonioni - Blow Up Presentation for Fashion Film - GC CUNY 2014
Michelangelo Antonioni - Blow Up Presentation for Fashion Film - GC CUNY 2014
Cut or sequencing,kuleshov effect, colour in film , eastman
Cut or sequencing,kuleshov effect, colour in film , eastman
FILMS COMMUNICATION - HISTORY Still Pictures to Moving Images
FILMS COMMUNICATION - HISTORY Still Pictures to Moving Images
Transcinema: The purpose, uniqueness, and future of cinema
Transcinema: The purpose, uniqueness, and future of cinema
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Media gaze
This document discusses different forms of gaze that can occur in media texts and paintings. It identifies the spectator's gaze, the intra-diegetic gaze, direct address to the viewer, and the camera's look as key forms of gaze in texts. Less common gazes mentioned include the bystander's gaze, averted gaze, and editorial gaze. The document also summarizes James Elkins' 10 ways of looking at a painting in a gallery, including the figures looking at the viewer or each other, and other people looking at the painting or those viewing it.
Genre theory
This document discusses genres and how audiences engage with them. It notes that genres provide both repetition through conventions but also novelty through variations, and this combination provides pleasure for audiences. Genres establish expectations for audiences and filmmakers can manipulate expectations for effect. Pleasure comes from both recognition of genre conventions and surprise at an artist stretching those conventions. The document also examines how genres are used by filmmakers, marketers, and audiences to understand a film's format, target demographic, and how to anticipate its structure.
Audience
The document discusses several theories of how audiences interact with and interpret media texts:
1) The Hypodermic Needle Model from the 1920s viewed audiences as passive receivers of media messages, without considering individual experiences or opinions.
2) The Two-Step Flow theory from the 1940s suggested information spreads from media to opinion leaders and their social circles, rather than directly to the masses.
3) Uses and Gratifications theory from the 1940s-1960s viewed audiences as actively choosing media texts to fulfill various needs like information, social interaction, and entertainment.
4) Reception Theory from the 1980s-1990s focused on how individual attributes like gender, class, and ethnicity influence the
Media representation
This document discusses how media texts represent reality through intentional composition and censorship by producers, and how audiences make sense of reality based on these mediated representations. It notes that while media extends our experience of reality by portraying select highlights, our view is also restricted by what producers choose to include. Finally, it stresses the importance of considering who produced a media text, what or who it represents, how and why that particular representation was chosen, and the frame of reference audiences use to understand the representation.
Media representation
This document discusses how media texts represent reality through intentional composition and censorship by producers. It represents someone's concept of existence and codes reality into signs and symbols for audiences. While media limits our direct experience, it allows us to make sense of reality through these artificial representations. Producers position texts in relation to reality, while audiences assess them based on this relationship. Media both extends and restricts our experience by selectively portraying highlights producers choose to fit their parameters. It can influence how we view the world by reinforcing or breaking down prejudices, though audiences know representations are partially fictional. Understanding representation requires considering who produced the text, what is represented, how, why, and the audience's frame of reference.
Media gaze
This document discusses different forms of gaze that can occur in media texts and cultural practices. It identifies key forms of gaze such as the spectator's gaze of looking at objects in a text, the intra-diegetic gaze of characters looking at each other within a text, and the direct address of a character looking out of the frame at the viewer. Less common gazes like the bystander's view of other viewers and averted gazes that avoid another's look are also mentioned. The document concludes by noting the importance of considering the reciprocal gaze in the broader social context of cultural practices, not just textual analyses.
Audience
The document discusses several theories of how audiences interact with and interpret media texts:
1) The Hypodermic Needle Model from the 1920s viewed audiences as passive receivers of media messages, without considering individual experiences or opinions.
2) The Two-Step Flow theory from the 1940s suggested information spreads from media to opinion leaders and their social circles, rather than directly to the masses.
3) Uses and Gratifications theory from the 1940s-1960s viewed audiences as actively choosing media texts to fulfill various needs like information, social interaction, and entertainment.
4) Reception Theory from the 1980s-1990s focused on how individual attributes like gender, class, and ethnicity influence how
Genre theory
This document discusses genres and how audiences engage with them. It notes that genres provide both repetition through conventions but also novelty through variations, and this combination provides pleasure for audiences. Genres establish expectations for audiences and filmmakers can manipulate expectations for effect. Pleasure comes from recognizing genre features as well as seeing how genres evolve over time.
Audience theory
Stuart Hall argued that media producers encode messages based on their social backgrounds, and audiences can decode these messages in different ways depending on their demographics. He identified three perspectives of audience response: preferred readings that align with the producer's intent, negotiated readings that agree with some aspects but not others, and oppositional readings that conflict with the values in the text. Additionally, uses and gratifications theory suggests that viewing violent images can be psychologically beneficial by allowing audiences to act out violent impulses through media instead of in real life.
Why do we watch horror films
Horror films provide a safe way to experience fear and release emotions. They allow viewers to experience thrills without real danger by eliciting anger or fear towards antagonists that is replaced with positive feelings after the film. Horror films may also serve as an outlet for viewers' insanity by allowing their "Mr. Hyde" to emerge in a controlled way. Some research suggests they satisfy primal male urges to assess threats.
Front cover development
This document summarizes changes made to a front cover design. Initially, drop shadows were added to text and a gradient was applied to a banner. The color of some text was also changed. Further developments included changing the lower block to an off-white color to draw less attention, adding pictures to make the cover more visual, and receiving permission to use a festival logo.
Front cover development
This document summarizes changes made to a front cover design. Initially, drop shadows were added to text and a gradient was applied to a banner. The color of some text was also changed. Further developments included changing the lower block to an off-white color to draw less attention, adding pictures to make the cover more visual, and receiving permission to use a festival logo.
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Introduction
The notion of Dwayne Johnson kidnapping seems straight out of a Hollywood thriller. Dwayne "The Rock" Johnson, known for his larger-than-life persona, immense popularity. and action-packed filmography, is the last person anyone would envision being a victim of kidnapping. Yet, the bizarre and riveting tale of such an incident, filled with twists and turns. has captured the imagination of many. In this article, we delve into the intricate details of this astonishing event. exploring every aspect, from the dramatic rescue operation to the aftermath and the lessons learned.
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The Origins of the Dwayne Johnson Kidnapping Saga
Dwayne Johnson: A Brief Background
Before discussing the specifics of the kidnapping. it is crucial to understand who Dwayne Johnson is and why his kidnapping would be so significant. Born May 2, 1972, Dwayne Douglas Johnson is an American actor, producer, businessman. and former professional wrestler. Known by his ring name, "The Rock," he gained fame in the World Wrestling Federation (WWF, now WWE) before transitioning to a successful career in Hollywood.
Johnson's filmography includes blockbuster hits such as "The Fast and the Furious" series, "Jumanji," "Moana," and "San Andreas." His charismatic personality, impressive physique. and action-star status have made him a beloved figure worldwide. Thus, the news of his kidnapping would send shockwaves across the globe.
Setting the Scene: The Day of the Kidnapping
The incident of Dwayne Johnson's kidnapping began on an ordinary day. Johnson was filming his latest high-octane action film set to break box office records. The location was a remote yet scenic area. chosen for its rugged terrain and breathtaking vistas. perfect for the film's climactic scenes.
But, beneath the veneer of normalcy, a sinister plot was unfolding. Unbeknownst to Johnson and his team, a group of criminals had planned his abduction. hoping to leverage his celebrity status for a hefty ransom. The stage was set for an event that would soon dominate worldwide headlines and social media feeds.
The Abduction: Unfolding the Dwayne Johnson Kidnapping
The Moment of Capture
On the day of the kidnapping, everything seemed to be proceeding as usual on set. Johnson and his co-stars and crew were engrossed in shooting a particularly demanding scene. As the day wore on, the production team took a short break. providing the kidnappers with the perfect opportunity to strike.
The abduction was executed with military precision. A group of masked men, armed and organized, infiltrated the set. They created chaos, taking advantage of the confusion to isolate Johnson. Johnson was outnumbered and caught off guard despite his formidable strength and fighting skills. The kidnappers overpowered him, bundled him into a waiting vehicle. and sped away, leaving everyone on set in a state of shock and disbelief.
The Immediate Aftermath
The immediate aftermath of the Dwayne Johnson kidnappin
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The Enigmatic Portrait, In the heart of a sleepy town
In the heart of a sleepy town nestled between rolling hills and whispering pines …
created with AI assistance…
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留信网认证的作用:
1:该专业认证可证明留学生真实身份
2:同时对留学生所学专业登记给予评定
3:国家专业人才认证中心颁发入库证书
4:这个认证书并且可以归档倒地方
5:凡事获得留信网入网的信息将会逐步更新到个人身份内，将在公安局网内查询个人身份证信息后，同步读取人才网入库信息
6:个人职称评审加20分
7:个人信誉贷款加10分
8:在国家人才网主办的国家网络招聘大会中纳入资料，供国家高端企业选择人才
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Leonardo DiCaprio House: A Journey Through His Extravagant Real Estate Portfolio
Introduction
Leonardo DiCaprio, A name synonymous with Hollywood excellence. is not only known for his stellar acting career but also for his impressive real estate investments. The "Leonardo DiCaprio house" is a topic that piques the interest of many. as the Oscar-winning actor has amassed a diverse portfolio of luxurious properties. DiCaprio's homes reflect his varied tastes and commitment to sustainability. from retreats to historic mansions. This article will delve into the fascinating world of Leonardo DiCaprio's real estate. Exploring the details of his most notable residences. and the unique aspects that make them stand out.
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Leonardo DiCaprio House: Malibu Beachfront Retreat
A Prime Location
His Malibu beachfront house is one of the most famous properties in Leonardo DiCaprio's real estate portfolio. Situated in the exclusive Carbon Beach. also known as "Billionaire's Beach," this property boasts stunning ocean views and private beach access. The "Leonardo DiCaprio house" in Malibu is a testament to the actor's love for the sea and his penchant for luxurious living.
Architectural Highlights
The Malibu house features a modern design with clean lines, large windows. and open spaces blending indoor and outdoor living. The expansive deck and patio areas provide ample space for entertaining guests or enjoying a quiet sunset. The house has state-of-the-art amenities. including a gourmet kitchen, a home theatre, and many guest suites.
Sustainable Features
Leonardo DiCaprio is a well-known environmental activist. whose Malibu house reflects his commitment to sustainability. The property incorporates solar panels, energy-efficient appliances, and sustainable building materials. The landscaping around the house is also designed to be water-efficient. featuring drought-resistant plants and intelligent irrigation systems.
Leonardo DiCaprio House: Hollywood Hills Hideaway
Privacy and Seclusion
Another remarkable property in Leonardo DiCaprio's collection is his Hollywood Hills house. This secluded retreat offers privacy and tranquility. making it an ideal escape from the hustle and bustle of Los Angeles. The "Leonardo DiCaprio house" in Hollywood Hills nestled among lush greenery. and offers panoramic views of the city and surrounding landscapes.
Design and Amenities
The Hollywood Hills house is a mid-century modern gem characterized by its sleek design and floor-to-ceiling windows. The open-concept living space is perfect for entertaining. while the cozy bedrooms provide a comfortable retreat. The property also features a swimming pool, and outdoor dining area. and a spacious deck that overlooks the cityscape.
Environmental Initiatives
The Hollywood Hills house incorporates several green features that are in line with DiCaprio's environmental values. The home has solar panels, energy-efficient lighting, and a rainwater harvesting system. Additionally, the landscaping designed to support local wildlife and promote
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Orpah Winfrey Dwayne Johnson: Titans of Influence and Inspiration
Introduction
In the realm of entertainment, few names resonate as Orpah Winfrey Dwayne Johnson. Both figures have carved unique paths in the industry. achieving unparalleled success and becoming iconic symbols of perseverance, resilience, and inspiration. This article delves into the lives, careers. and enduring legacies of Orpah Winfrey Dwayne Johnson. exploring how their journeys intersect and what we can learn from their remarkable stories.
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Early Life and Backgrounds
Orpah Winfrey: From Humble Beginnings to Media Mogul
Orpah Winfrey, often known as Oprah due to a misspelling on her birth certificate. was born on January 29, 1954, in Kosciusko, Mississippi. Raised in poverty by her grandmother, Winfrey's early life was marked by hardship and adversity. Despite these challenges. she demonstrated a keen intellect and an early talent for public speaking.
Winfrey's journey to success began with a scholarship to Tennessee State University. where she studied communication. Her first job in media was as a co-anchor for the local evening news in Nashville. This role paved the way for her eventual transition to talk show hosting. where she found her true calling.
Dwayne Johnson: From Wrestling Royalty to Hollywood Superstar
Dwayne Johnson, also known by his ring name "The Rock," was born on May 2, 1972, in Hayward, California. He comes from a family of professional wrestlers, with both his father, Rocky Johnson. and his grandfather, Peter Maivia, being notable figures in the wrestling world. Johnson's early life was spent moving between New Zealand and the United States. experiencing a variety of cultural influences.
Before entering the world of professional wrestling. Johnson had aspirations of becoming a professional football player. He played college football at the University of Miami. where he was part of a national championship team. But, injuries curtailed his football career, leading him to follow in his family's footsteps and enter the wrestling ring.
Career Milestones
Orpah Winfrey: The Queen of All Media
Winfrey's career breakthrough came in 1986 when she launched "The Oprah Winfrey Show." The show became a cultural phenomenon. drawing millions of viewers daily and earning many awards. Winfrey's empathetic and candid interviewing style resonated with audiences. helping her tackle diverse and often challenging topics.
Beyond her talk show, Winfrey expanded her empire to include the creation of Harpo Productions. a multimedia production company. She also launched "O, The Oprah Magazine" and OWN: Oprah Winfrey Network, further solidifying her status as a media mogul.
Dwayne Johnson: From The Ring to The Big Screen
Dwayne Johnson's wrestling career took off in the late 1990s. when he became one of the most charismatic and popular figures in WWE. His larger-than-life persona and catchphrases endeared him to fans. making him a household name. But, Johnson had ambitions beyond the wrestling ring.
In the early 20
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Media language
- 2. Quotes • ‘Unlike all the other art forms, film is able to seize and render the passage of time, to stop it, almost to possess it in infinity. I’d say that film is the sculpting of time.’ – Andrei Tarkovsky. • ‘The art of film can only really exist through a highly organized betrayal of reality.’- Francois Truffaut. • ‘My distinguishing talent is the ability to put people under the microscope, perhaps to go one or two layers farther down than some other directors.’ -David Lean
- 3. • ‘I’m just a storyteller and the cinema happens to be my medium. I like it because it re-creates life in movements, enlarges it and enhances it. It is far closer to the miraculous creation of life than a painting. Its not just an art form; its actually a new form of life, with its own rhythms, perspectives and transparencies. It’s my way of telling a story’ –Federico Fellini • ‘You make films to give people something, to transport them somewhere else. The realm of superstitions, fortunetelling, dreams, presentiments, all this is the inner life of a human being and all this is the hardest thing to film.’ – Krzystof Kieslowski
- 4. • Mise-En-Scene: This include set, costume, lighting and location. • Mise- En-shot: This include camera shot, camera movement, shot scale, depth of focus, the pace of editing. • Primary Action- the movement of character/objects within the frame. • Secondary action- the movement of the camera in relation to those objects
- 5. Editing • Continuity- continuous action shown in sequence. • Montage- a series of seemingly unrelated shots that the audience must work to connect. • Hollywood movies used ‘continuity editing’, a style also known as transparency. Action flows smoothly and audience just follow the dialogue. • Art house films use framed editing, where the audience are continually reminded that they are viewing an artificially created text.
- 6. Sound • It is a vital part of the information used for decoding film – whether it comes in the form of a lush string soundtrack or footsteps echoing o/s down a corridor. • It may be diegetic coming from inside the narrative world of the film eg characters’ voice. • It may be non-diegetic coming from another source eg a voice over or soundtrack. • It can be synchronous where it matched the actions seen on the images. • It can also be asynchronous that is from unseen sources, sound effects and music.