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Film Sound Part 1

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Film Studies
Film Studies 1020E
Peter Brunette

Film Sound II The Film Experience 26 October 2011 Voice, Music, Sound Effects: - voice, music, and sound effects are the three elements of the film soundtrack, and they are often present simultaneously - in some sense a film's image track, composed of relatively discrete photographic images and text, is simpler and more unified Voice in Film: - human speech is often central to narrative film's intelligibility, primarily in the form of dialogue - voices of actors make a distinct contribution to a film - speech establishes character motivation and goals and conveys plot information - sound perspective refers to the apparent distance of a sound source, remains close Dialogue: - overlapping dialogue is mixing characters' speech simultaneously - dialogue is also given priority when it carries over visual shifts, such as shot/reverse- shot patterns of editing conversations - sound preserves temporal continuity as the scene is broken down into individual shots The Voice-Off: - the voice can be seen to originate from an onscreen speaker, or it may originate from a speaker who can be inferred to be present in the scene but who is not currently visible is a voice-off The Voiceover: - the simple fact that characters within the digenesis cannot hear the latter - a text spoken by an off-screen narrator can act as the organizing principle behind virtually the film’s entire image - the voiceover device soon becomes the cornerstone of the documentary tradition, in which the voiceover "anchors" the potential ambiguity of the film's image Talking Heads: - on camera interviews, usually shot in medium close-up Synchronization: - the visible coordination of the voice with the body from which it is emanating, tends to be a valued practice in Hollywood films Music in Film: - music is a crucial element in the film experience: among a range of other effects, it provides rhythm and deepens emotional response Narrative Music: - conventions of film sound, background music comes most immediately to mind - music is the only element of cinematic discourage besides credits that is primarily non diegetic - the conventions of music scoring, composition, orchestration, and mixing contribute to a particular kind of experience at the movies - underscoring (aka background music) in contrast to source music, which is diegetic, already emphasizes this status - a piece of music composed for a particular place in a film is referred to as a cue - narrative may be to point something out or emphasize its significance; the most noticeable examples are called stingers, sounds that force us to notice the significance of something onscreen, such as the ominous chord struck when the villain’s presence is made know - over illustrating the action through the score, such as accompanying a character walking on tip-toe with plucked strings, is referred to as mickey-mousing The Hollywood Musical: - the musical genre often followed the principles of classical; narrative film scoring with the addition of production numbers that positively reveled in film music's audibility - the manner in which music connotes emotion or sprit in Hollywood films is perha
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