Early silent films were typically accompanied by live music in theaters. Film has long been associated with synchronous sound designed to match images on screen. There are three main methods of recording sound for films - sound-on-disc where sound was recorded simultaneously with filming, sound-on-film where sound waves were converted to light waves and recorded on film, and post-production sound where sounds are added later. Characteristics of sound include volume, pitch, and timbre. There are three types of film sound - speech such as dialogue and other human sounds, noise like sound effects and ambient noise, and music which is used to convey emotion.

1. CHAPTER 5: SOUND
Early movies without soundtracks are
often called “SILENT”, but that is
misleading; early “silent” movies were
typically accompanied by live music,
either from an orchestra, piano, or organ
in the theater.
Film has long been associated with
SYNCHRONOUS SOUND; sound that is
designed/recorded to “SYNCH UP” with
the film and appear simultaneously with
the images as they appear on the screen

2. CHAPTER 5: SOUND
SOUND-ON-DISC:
The sound was recorded by a disc recorder that
was SYNCHED to the camera; early technology
from about 1890 – 1920’s
SOUND-ON-FILM:
The process by which sound waves are
converted into light waves and photographically
recorded on film alongside the images
POST-PRODUCTION SOUND:
When sounds (music, dialogue, sound effects,
etc.) are added to a film later in post-production
by a variety of means

3. CHAPTER 5: SOUND
CHARACTERISTICS OF SOUND:
VOLUME:
How loud a sound is; often used to direct
attention
PITCH:
The acoustic frequency of a sound and is
characterized as HIGH (soprano) or LOW
(bass); often used to create dramatic effect
TIMBRE:
Quality or tone of a sound; it’s what enables us
to differentiate between two sounds at the same
volume and pitch

4. CHAPTER 5: SOUND
TYPES OF FILM SOUND:
SPEECH:
Includes dialogue, of course, but also includes
other human sounds, such as laughter, sighing,
moaning, and crying
NOISE:
Sound effects and ambient noise are the most
common examples; often added in post-
production
MUSIC:
The music heard in the film by the audience and/or
the characters; often used to convey psychology and
for dramatic effect

5. CHAPTER 5: SOUND
FILM SOUND CATERGORIES:
DIEGETIC:
All the sounds heard INSIDE the film itself
that the characters (and, obviously, the
audience) can hear themselves within the
context of the story
NON-DIEGETIC:
All the sounds heard OUTSIDE the film itself
that the characters can NOT hear
themselves, only the audience can hear them
VIDEO EXAMPLE
FYI: “DIEGESIS” comes from the Greek word for “to narrate”

6. CHAPTER 5: SOUND
SPEECH FILM ELEMENTS:
TEXT = what the dialogue is actually saying;
the words and their surface meaning
SUBTEXT = implied meaning below the
surface of the words; adds layers of
psychological complexity to characters and
captures the way people communicate in real
life; can come from situation and/or
performance
CREATING SUBTEXT IN A SCREENPLAY
SUBTEXT = DIALOGUE + ACTION
STUDENT FILM SUBTEXT EXAMPLE

7. CHAPTER 5: SOUND
SPEECH FILM ELEMENTS:
VOICEOVER = When a character speaks
over the film, sharing thoughts and
information that only the audience can hear
TOP 10 MOVIE NARRATIONS
The potential problem with using voiceovers
in film is that it violates the general film rule of
“Show, Don’t Tell”; good voiceovers should
always add to a film’s style and impact and
not simply be a way to cover holes in the
storytelling

8. CHAPTER 5: SOUND
NOISE FILM ELEMENTS:
FOLEY ARTISTS = Specialists who create
realistic sound effects that are perfectly
synchronized with the actions depicted on the
screen; part of post-production
FOLEY ARTISTS VIDEO EXAMPLE
FIDELITY = the degree to which a sound is
realistic or faithful to its visual source; film
sound can be very realistic or used in a more
symbolic way

9. CHAPTER 5: SOUND
MUSIC FILM ELEMENTS:
TEMPO/RHYTHM = just as with editing, the
tempo/rhythm of music can be used to create
a sense of urgency or non-urgency in
filmmaking
SYMBOLISM & MOOD = Music can also be
used to create setting, mood, and symbolic
and psychological meaning for the film and its
characters; for instance, when a sound
becomes louder as an object approaches; or
when film characters can have a musical
“motif” or “theme” that signals their presence
(think JAWS or Darth Vader’s “theme”)

10. CHAPTER 5: SOUND
HISTORY OF SOUND AT THE
MOVIES
WHY SOUND IS IMPORTANT FOR
FILMS
VIDEO REVIEW #1