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.

1. Sound
What noises can you hear in the clip?
Piano, horses, instruments, bells, footsteps, crows, talking, man’s voice, man in
pain, throwing up, whispering, punches, gun shot, heavy breathing, dialogue, high
pitch noise, smash of glass
Film sound is as important and as carefully controlled as the visual elements of a
text. Although sound is often recorded on set, most film sound is added in post-
production
Film sound will be mixed very carefully to ensure that important sounds are
emphasised and that the correct atmosphere for a sequence is maintained
Selective sound is: used to emphasise key sound elements within a sequence.
Ambient sound is: used to create a particular atmosphere or a sense of place.
Other elements of sound design to look out for:
 Sound bridges – the use of sound to help transitions between sequences
pass more fluidly.
 Sound effects – these are used to create a sense of realism or to create
some psychological impact or effect.
Sound can be either:
 Diegetic – that is, it exists within the world of the film or
 Non-diegetic – that is, it emerges from outside the world of the film, eg film
soundtracks
Diegetic Sound Non-Diegetic Sound
 Voices of characters
 Sounds made by objects in the
story
 Music represented as coming
from instruments in the story
space.
 Diegetic sound is any sound
presented as originated from
source within the films world.
 Diegetic sound can either on
screen or off screen depending
on whatever its source is within
the frame or outside the frame.
This type of sound can be used
to create many different
meanings for an audience.
 Narrators commentary
 Sound effects which are added
for a more dramatic effect.
 Musical score/soundtrack.
 Non-diegetic sound is
represented as coming from a
source outside the story space.
 The distinction between diegetic
and non-diegetic depends on our
understanding of the conventions
of film viewing and listening.
 We know that certain sounds are
represented as coming from the
story world, while others are
represented as coming from the
outside space of the story events
(e.g. a gunshot).

2. Film sound can be either:
Synchronous – this is when a sound effect is matched with another technical
event or action – this reinforces the effect (selective sound).
Asynchronous – when a sound originates from outside of the diegetic reality of
the film; musical soundtrack.
Contrapuntal – noise or sound effect doesn’t match the visuals, often juxtaposed
to create alternative meaning.
Other elements of sound design to look out for:
 Voiceovers – this is the ‘voice’ of the character. This voice usually often
guides or informs the external audience but can be used to push them in the
wrong narrative direction.
 Theme music – Music that introduces, develops throughout and ends the
film. Characters can have their own theme music – this indicates their
presence or ‘emotional journey’.
 Musical Score – used to create atmosphere, to link hots or sequences, to
help create the narrative or to offer information about the character.
 Silence – film/TV are very rarely completely silent, but this effect is
occasionally used to provoke a reaction from the audience.
Identifying sound in Sherlock Holmes
Diegetic:
Horse and carriage, loading guns, footsteps, crow, ears ringing
Non-diegetic:
Sherlock Holmes theme music, musical score, brief moment of silence to show
character present, voiceover, synchronous sound effects to match the punches,
shift in musical score- low to show character presence of evil character,