The document discusses the relationship between sound and image in films. It explains that sound and image can be recorded separately, allowing filmmakers to manipulate sound elements like dialogue, music, and effects. It also describes five ways sound can differ from the image: through onscreen/offscreen space, objective/subjective perspectives, diegetic/non-diegetic sources, differences in image and sound timing, and contrasts in image and sound moods. These techniques help filmmakers shape viewers' perceptions and extend the world of the film beyond the frame.

1. SOUND + IMAGE

2. THE RELATIONSHIP BETWEEN SOUND AND
IMAGE
 The sound and the image of a film can be recorded
separately.
 This enables filmmakers to manipulate the sound to
find the perfect balance between dialogue, music,
and sound effects.
 Whichever element is emphasized helps the viewer
understand what is important to the scene or the
message the director is trying to convey.

4.  Usually in a film, the sound will match what the audience
sees on the screen.

5. THE RELATIONSHIP BETWEEN SOUND AND
IMAGE
 By having the sound and image match, the
filmmaker reinforces the reality of the movie world
and shapes the viewer’s perception of the film.
 However, there are times when a filmmaker will
purposely choose to have the sound differ from
what is being shown onscreen.

6. THE RELATIONSHIP BETWEEN SOUND AND IMAGE
 There are five ways that sound may differ from the
image:
 Onscreen space and offscreen space
 Objective images and subjective sound
 Diegetic details and non-diegetic sound
 Image time and sound time
 Image mood and sound mood

7. ONSCREEN SPACE AND OFFSCREEN SPACE
 Because the image is confined to the frame of the
screen, filmmakers often try to find ways to make it
seem as though the world of the film extends past
the frame.
 One method of accomplishing this is to have sound
come from offscreen – the area beyond the frame.
 A sound coming from offscreen means that it can
be heard, but there is no image that shows us
where the sound is coming from.

9. OBJECTIVE IMAGES AND SUBJECTIVE
SOUNDS
 While the image is often limited to showing a
character’s actions, through the use of subjective
sound, a filmmaker can reveal to the viewer what a
character is thinking.
 Although the audience can hear the sounds, they
do not actually exist in the world of the movie.

11. DIEGETIC DETAILS AND NON-DIEGETIC
SOUND
 Diegetic - Any sound, voice or piece of music that
comes from within the world of the narrative
 Non-diegetic - Sounds, such as music or a
narrator’s voices that come from outside the space
of the narrative.
 When a filmmaker uses non-diegetic sound with an
image from the world of the movie, it generally
indicates a form of direct address to the audience.
 Examples: background music playing to shape the
emotions of the audience, a voice-over narration

14. IMAGE TIME AND SOUND TIME
 Combining sound and image allows filmmakers to
present two different points in time simultaneously.
 Example: when a voice-over narration describes past
events.
 Sometimes discrepancies in image time and sound
time occur during transitions, where the sound at
the end of one scene will carry over into the other.
This is called a sound bridge.

16. IMAGE MOOD AND SOUND MOOD
 Often, a film’s soundtrack corresponds to what is
happening on the screen and serves to emphasize
the mood of the image.
 By creating a contrast between the mood of the
image and the mood of the sound, however, a
filmmaker can highlight the tension of a scene and
draw the audience’s attention to a particular aspect
of the movie.