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Lecture 5

FS101 Lecture Notes - Lecture 5: Diegesis, Boombox, Cinematic Techniques


Department
Film Studies
Course Code
FS101
Professor
Katherine Spring
Lecture
5

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January 4th, 2013 WEEK 5
SOUND
Brief History of Sound Film
Silent Era (1895-1927)
o Films shown in theatres were almost always shown with some form of sound (orchestra,
organ, sound effects etc.)
o Travelling lecturers
o Technicians began experimenting with adding sound since 1895
o PROBLEM: matching the image of an actor’s lips moving to the sound of their dialogue
Transition to Sound (1927-1930)
o Image and soundtracks were recorded separately and brought together? (look at
cartoon on mls “lecture 5 sound”
o VITAPHONE: connecting a reel f film to a phonograph record that had been made during
the shooting of the production
o HAD to have that projector to make sound films work
Sound Era (1930-Today)
o Soundtrack ON the filmstrip
o Dolby Analog, digital Dolby, SSDS
o Now they can send to ALL theatres regardless of type of projector
Soundtrack Components
Essential! Sound mixers edit so much (BUILT)
Dialogues
o Externalize the thoughts and feelings of characters
o Text: dialogue that Is written
o Subtext: the implicit meaning of dialogue (we need to read in on it)
DO THE RIGHT THING: dialogue with Sal and Jade (friendly tone conveys that he
likes her)
Annie Hall: for comic effect! Subtitles of what’s going on in their head
o Direct Sound: sound recorded at same time as image
o ADR: Automated dialogue replacement
Sound Effects
o Fidelity: the degree to which a sound is appropriately matched to its apparent onscreen
source (SOUNDS MATCHED TO SOURCE OF SOUND)
Music
o Can establish setting
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