This document discusses different categories of sound that can be used in thrillers, including diegetic, non-diegetic, and special effects sounds. It explains that diegetic sounds come from visible or invisible sources within the story, while non-diegetic sounds do not originate from the film world, such as voiceovers or background music. The document also discusses parallel and contrapuntal sounds and provides examples of how they can build tension or conflict with the visuals. It concludes by noting the filmmakers' intent to use various sound techniques like contrapuntal music to scare the audience in their psychological thriller.

1. One of the key features that can make or break any
thriller is the sound. This title in and of itself has
various categories and sub-categories.

2. Digetic Sound (Actual Sound)
 This is sound that is presented as
originated from a source within a
film, including dialogue, source music
(music from instruments in the story
space), and sound effects.

3.  Digetic sound is considered on
screen when the source is visible within
the frame or off screen when it is outside
of the frame. The latter is called external
digetic sound.
 This is sound which comes from out of
frame, but is understood as belonging
within the story space.

4. Non-Digetic Sounds
 This is sound which is not recognised as part
of the film world, such as voice-over or
background music.
 This is when an image is projected, but the
voice heard is not being spoken in sync with
the characters speaking on screen. This tends
to be used to suggest a character’s thoughts or
recall information said previously, or to
provide objective narrative or commentary.

5. Special Effects and Music
 Sound effects include all sounds other
than dialogue and music.
 During recording, these sounds are
somewhat neglected by sound recordists
in favour of dialogue, and so Foley
Artists add them on in post-production
using props in a studio.

6. For example…
Sourced from www.wikepedia.com

7. Parallel and Contrapuntal
Sound
 An example of parallel sound is clear here…
 http://www.youtube.com/watch?v=5whe9XtdQg
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 The sounds in the background as Harry
Potter finds the perfect wand are positive,
corresponding to the scene presented on
screen.

8.  An example of contrapuntal sound is
clear here…
 http://www.youtube.com/watch?v=P0EXHvbs
nJ8
 The music played for the duration of this
scene conflicts with the content of the
film.

9. What can we take from this?
 Whilst every technique is useful in its own
way, we need to think carefully about the
way we incorporate sound into our film.
Quality voice-overs can have a chilling
effect on the viewer, or make the audience
feel more relaxed and comfortable when
watching a scene. Although, we do not
intend to use this technique.

10.  Non-digetic music can be very industrious in
building suspense, which is essential to any
thriller. However, this also increases the
audience’s emotional involvement with the
visual imagery of the film and reflects the
characters’ moods.
 Digetic music is more active in presenting the
audience with he characters’ emotions, creating
realism and setting the scene.

11.  External digetic sound is particularly useful
in transitioning slides, as it makes the mood
from one scene to another much smoother.
 Special effects, such as the sound of a
crackling fire, or crunching leaves will be
crucial in creating realism within our film.

12.  We hope to include both contrapuntal and
parallel sounds in our film in order to build
tension to its maximum and scare our
audience, although I do note that as we will
be producing a psychological thriller,
contrapuntal sounds will be used more in
our film as Nicole and I believe they are
more effective.

15. The Outcome…
Jessica Ansell is one of the most skilled
musicians I know personally.
Luckily for us, she kindly agreed to help us
out with music for our thriller, we will be
meeting her this week to discuss.
Wish us luck!