This document discusses different classifications and uses of sound in films. It describes sound as being classified into sound effects, music, and spoken language. Sound can be synchronous, recorded at the same time as images, or nonsynchronous, recorded later and dubbed onto images. Sound can also be diegetic, coming from within the depicted scene, or nondiegetic, coming from outside the scene, like voiceovers or background music. The document then provides examples to illustrate synchronous/nonsynchronous and diegetic/nondiegetic sound. It continues discussing the history of sound in films and different uses of music to set mood, suggest locales or characters, or control emotional shifts.

1. Music and Sound
Classifications of Sound. Sound montage. Functions
of Music. Sound and Musical Motifs.

2. Film Aesthetics
Motion Picture Sound
Sound is classified in three ways, sound effects, music
and as spoken language.
These elements can be synchronous ie recorded at the
same time as the images; or nonsyncronous, ie
recorded at a different time and dubbed onto the image.
These elements can also be diegetic ie where the
source is within the world depicted in the film (eg
dialogue or music from a radio in the scene; or
nondiagetic, where sound comes from outside this
world (voice overs, background music etc.)

3. DRILL
Are these following examples
Synchronous or non syncronous? Diegetic/non?
1. Dialogue … recording by mike whilst shooting.
2. Dialogue … dubbed from English to Cantonese.
3. Sound of background TV broadcast but added after.
4. Orchestral music swelling amidst desert scene?
These elements can be synchronous ie recorded at the same time as the images; or
nonsyncronous, ie recorded at a different time and dubbed onto the image.
These elements can also be diegetic ie where the source is within the world
depicted in the film (eg dialogue or music from a radio in the scene; or nondiegetic,
where sound comes from outside this world (voice overs, background music etc.)

4. Sound -- History
• In 1927, The Jazz Singer ushered in the talkie era.
• Early in talkies era, formalist directors like Eisenstein
were hostile to use of synchronous sound. He believed it
would limit editing and kill the very soul of film art.
• The increased realism brought on by sound forced acting
styles to become more natural -- performers didnt need to
compensate visually for lack of dialogue.
• Orson Wells (Citizen Kane) was an important innovator
in sound. He perfected the technique of sound montage
where dialogue of one character overlaps with another.

5. Music
• Theories of music varies. Eisenstein insisted music
not be used as mere accompaniment -- that it should
retain its own integrity. Other filmmakers insist of
purely descriptive music or “mickeymousing” where
music is a literal equivalent to the movement.
• Beginning with opening credits, music can suggest
the mood or tone of a film as a whole. Certain kinds
of music can suggest locales, classes, ethnic groups.
• Music can be used as foreshadowing, eg.
Hitchcock’s “anxious” music he used when
preparing an audience.

6. Music
• Music can control emotional shifts within a scene.
Examples?
• Music can provide ironic contrast. The predominent
mood of a scene can be neutralized or even reversed
with contrasting music. Example,A Clockwork Orange.
(Music like Singing in the Rain as a distancing” device.)
• Characterization can be suggested through musical
motifs. The Good the Bad and the Ugly. Bugs
Bunny/Road Runner.

7. Music
• Music can control emotional shifts within a scene.
Examples?
• Music can provide ironic contrast. The predominent
mood of a scene can be neutralized or even reversed
with contrasting music. Example,A Clockwork Orange.
(Music like Singing in the Rain as a distancing” device.)
• Characterization can be suggested through musical
motifs. The Good the Bad and the Ugly. Bugs
Bunny/Road Runner.