TV Drama Sound
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This document discusses key concepts about sound in TV dramas. It explains that diegetic sounds are those that characters can hear or see within the world of the story, while non-diegetic sounds are only heard by the audience. Students are instructed to analyze the sounds in a sample video sequence from the TV show "24" by categorizing different sounds and noting how sound works to generate meaning in terms of narrative, genre, and character. The document also discusses analyzing changes in sound levels and conducting a more detailed sound analysis of a TV drama sequence using relevant terminology.
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The document discusses different types of sounds that can be present in a TV drama. It distinguishes between diegetic sounds, which are sounds that exist within the world of the characters, and non-diegetic sounds, which are only heard by the audience. The key factor for categorizing a sound is whether a character could hear or see it within the story world.
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This document discusses key concepts related to sound in TV dramas. It explains that sounds can be diegetic, meaning they exist within the world of the characters, or non-diegetic, meaning only the audience can hear them. Students are instructed to analyze sample sequences from the TV show "24" by categorizing different sounds and noting how sound works to generate meaning in terms of narrative, genre, and character. The document also discusses analyzing changes in sound levels and conducting a detailed sound analysis of a TV drama sequence using sound-related terms.
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The document provides information about Foley artistry and sound design in film and television. It begins by asking the reader to match sound effects to their creation techniques. It then profiles Alyson Moore, a professional Foley artist, and lists some common sound effects she creates through various methods like coconuts stuffed with cloth or thumping a watermelon. The document goes on to define diegetic and non-diegetic sounds and provides examples of each. It encourages analyzing sequences to categorize sounds and understand how they generate meaning and affect the story, characters, and genre.
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The document provides information about Foley artistry and sound design in film and television. It begins by asking the reader to match sound effects to their creation techniques. It then profiles Alyson Moore, a professional Foley artist, and lists some common sound effects she creates through various methods like coconuts stuffed with cloth or thumping a watermelon. The document goes on to define diegetic and non-diegetic sounds and provides examples of each. It asks the reader to analyze sound sequences and consider how sound generates meaning and affects narrative, characters, and emotion.
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This document provides lesson objectives and materials for teaching students about the use of sound in media. It begins by explaining the key objectives: for students to understand diegetic and non-diegetic sound with examples; analyze how sound creates meaning in a TV drama clip; and use sound terminology. It then defines important sound terminology like diegetic, non-diegetic, sound effects, and voiceovers. Examples are provided of different sound clips to analyze meanings. The document aims to teach students how sound enhances emotional experience and meaning in media.
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The document discusses a focus group being held to get opinions on horror media products, including film trailers for the movies Insidious and The Possession. Participants will be asked questions about the trailers' narratives, conventions, sounds, and whether they find the films appealing. They will also discuss a horror film poster and magazine cover, identifying genres and elements that would attract them to watch the film or read the magazine. The focus is on better understanding the target audience's preferences in horror media.
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This document defines and provides examples of various sound techniques used in film and media, including dialogue, diegetic sound, non-diegetic sound, sound motifs, synchronous sound, contrapuntal sound, voiceovers, soundtracks, ambient sound, sound perspective, mode of address, and sound bridges. Examples are provided for each technique through embedded video clips to illustrate how each technique is employed.
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This document provides an overview of key concepts relating to music and sound in film. It discusses different types of music scores and how they can create atmosphere and tension. Different categories of sound are defined, including diegetic sounds that exist within the world of the film and non-diegetic sounds that come from outside it. Synchronous sounds match the visuals while asynchronous sounds do not. Contrapuntal sound uses juxtaposition. Music can be used to suggest things about characters, genres, settings and narratives. Students are assigned to analyze sample film scenes focusing on use of diegetic and non-diegetic sounds and how music creates tension and atmosphere.
Summer tt analysis of trailer conventions
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Teaser conventions
Teaser trailers are typically shorter than 90 seconds and are meant to excite audiences about upcoming films without revealing full plots or stories. They establish main characters and relationships through carefully selected shots and footage. Dramatic music, camera angles, dialogue, and voiceovers are used to build atmosphere and intrigue viewers without giving away too many details, ending in a cliffhanger to generate anticipation for the full film.
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Support resources include unit-specific blogs and contact information for the course leader is provided.
Gender representation in music videos
The document discusses theories of gender representation in music videos. It outlines how women are often hyper-sexualized in music videos, dancing provocatively or touching themselves. This leads to a debate around whether this is empowering self-expression or damaging. The document also discusses Laura Mulvey's theory of the "male gaze" and how women are objectified for the erotic pleasure of male viewers. However, some female artists like Adele challenge stereotypes by offering empowering lyrics without sexualization. The document also covers theories of hegemonic masculinity in music, and how traits like aggression and dominance are emphasized in genres like rap and hip hop.
Representation in Music Videos. Lesson 1
This document discusses key concepts around representation in media including:
- Representations re-present events that have already occurred rather than presenting reality directly.
- Representations invite audiences to understand and agree with a particular interpretation.
- Media institutions have power and responsibility over representations that can influence social attitudes.
- Stereotypes simplify representations and focus on exaggerating aspects to enable quick audience understanding but often have negative assumptions.
- Ideologies embedded in media texts reflect dominant beliefs and expectations in a culture.
- Genres may have associated representations and stereotypes that aid understanding of narratives.
Music video & narrative theory (1)
1) The document discusses different types of music videos including performance-based, narrative-based, and concept-based videos.
2) Performance videos focus on shots of the artist performing, narrative videos tell a story either based on or suggested by the song's lyrics, and concept videos are based around a single idea or concept.
3) The relationship between the music, lyrics, and visuals in a video is also examined, including how the visuals can illustrate, amplify, contradict, or create disjuncture from the lyrics and tone of the music.
Genre theory 2015 lesson 2
This document discusses several theoretical perspectives on genre:
1. Rick Altman breaks genre down into semantic (props, characters, etc.) and syntactic (ideologies, narratives) elements which must be analyzed separately.
2. David Buckingham argues that genre is constantly negotiated and changing through hybridization.
3. Nicholas Abercrombie suggests that economic pressures lead to the "dismantling of genre" through pursuing new audiences.
4. Todorov argues that new genres transform old genres, similar to postmodern bricolage combining multiple genres.
5. Some Marxists see genre as social control reproducing dominant ideologies, while feminists examine how genres produce hegemonic representations viewed as common sense.
Genre 2015 lesson 1
Genres are ways of categorizing and organizing different types of texts to simplify the mass of available information for both audiences and producers. They create order and appeal to our need to organize chaos. Genres are categories based on common textual elements that attempt to structure some order into the wide range of circulating cultural texts. All genres have sub-genres that divide them into more specific categories, and texts can also evidence hybridity by combining elements of two or more genres. Hybridity and sub-genres allow audiences to identify texts through their familiar and recognizable genre characteristics.
OCR chief examiner reports on question 1
The document summarizes an examiner's report on student responses to a question about representing class and status in the TV show Downton Abbey. The summary covers the strengths and weaknesses seen in student answers regarding different technical areas like camerawork, mise-en-scene, sound, and editing. Overall, responses were generally good, with most students able to analyze representations of different class groups. However, weaker students struggled to integrate analysis of all technical elements or lapsed into description without connecting to class and status.
A2 Music Video: List of blog posts for R&P
This document outlines the various stages of producing a music video, including developing skills through workshops, researching genres and target audiences, storyboarding, planning locations and sets, producing test shots, and creating website and album packaging designs. It culminates in the final production and release of the music video, website, and digipak. Reflection on feedback is incorporated throughout the process to improve the final products.
Mise en-scene 2014
The document discusses the concept of mise-en-scène in filmmaking, which refers to everything visible on screen including actors, lighting, decor, props, and costumes. It also discusses how signs and symbols in media can have multiple interpretations depending on how they are interpreted and the cultural background of the viewer. Various elements of mise-en-scène, such as lighting, decor, costumes, props, and location are described in terms of how they can be used to convey meaning and provide context. Students are instructed to analyze examples of film or print media using concepts of mise-en-scène and genre.
Initial title research
This document instructs the reader to create timelines for the opening titles of at least 3 films using a website. They should identify the number of titles and job roles in each film. A brief paragraph should discuss on average how many titles are in a 2 minute opening and the variety of job roles, and state that any future work must adhere to the findings. The completed prezi should be posted after a video prelim with the title "initial title research".
Creating an advertising campaign
The document provides instructions for creating an advertising campaign on Pinterest. It instructs the user to create a Pinterest account if needed, then make a board suggesting an advertising campaign. A link is included for finding advertising design ideas to help inform the campaign. The user is then asked to write a 500-word reflective piece summarizing their campaign board and justifying the decisions made in the proposed campaign.
What should be in my A2 Blog by Friday 5th September 2014
The document outlines 20 topics that should be covered in a blog for a 'The Pitch' music video work assignment. The topics include reflections on skills developed from various workshops and events, discussions on music video techniques and theories, analyses of example music videos, research on genre conventions and target audiences, and updates on the development of initial ideas for their own music video. Completing blog posts on all 20 topics will allow the student to thoroughly document their research and creative process.
Creating your music video pitch
The document provides instructions for creating a music video pitch that includes three parts:
1. Details of the track, inspiration sources, and permission to use the song. This is presented on a Pinterest board with a link in the student's blog.
2. A rough timeline and synopsis of the music video.
3. Flat plan designs for a 6-panel digipak and all pages of a website.
Students then present their pitch as a Prezi, film it as a video, and gather feedback on how to improve their ideas in subsequent blog posts and lessons. Pitches will take place in the second lesson of the following week.
Music video audience research
This document provides instructions for students to research and understand their target audience for a promotional music video project. Students are asked to create a character on Bitstrips to represent their target audience, then build a strip describing the audience's interests and lifestyle. They are to reflect on how the audience will impact their video's content and style. For homework, students must interview at least 6 people from their target audience about music videos in their genre and reflect on what they liked and disliked to help shape their own video.
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TV Drama Sound
- 1. G322 Key Media Concepts (TV Drama) sound
- 2. • Listen to the sample sequence without the visuals on screen. • Identify as many sounds as you can in the sequence. Screen Opening sequence of 24 season 8 > 5 minutes
- 3. Try and categorise the different sounds that you heard
- 4. The main factor in categorising sound • The diegesis is the world the characters inhabit. • If a character can see or hear something, then it is part of the diegesis. It is a diegetic sound. • If only the audience can see or hear something, then it is not part of the diegesis. It is a non-diegetic sound
- 5. Watch the sequence without visuals and note on your worksheet the different sounds you hear. Now watch with visuals and note down the sounds that you hear http://www.youtube.com/watch?v=qx0LSM_qy7s&li st=TLjkdFXaWcb5N_0J-N5RXOl3487N8eQ_nj
- 6. How does the sound work to generate meaning? Think about: Narrative: The story/plot Genre: The type of TV Drama it is Character: What do we understand about the characters
- 7. The sound mix • Consider the changes in the levels (volume) of the various sounds in one or both of the following extracts: • Life on Mars, episode 1 • going to the suspect’s house > leaving the same (ch6 48:18 > ) • police canteen > rooftop (end of episode) (ch7 53:32 > ) • Are changes in levels apparent? When do they occur? For what reasons?
- 8. Homework 1. Complete your handout by researching and creating definitions for the various terms associated with sound 2. Conduct a detailed sound analysis of a sequence, from a TV Drama of your choice, incorporating a minimum of 5 sound terms. Your analysis should focus on how narrative information is provided, how genre is typified and how the sound aids characterisation.
Editor's Notes
- Hollyoaks opening sequence to end of bathroom conversation