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Film Form, Part V: Sound in the Cinema The Powers of Sound • Though we may not always notice the score or sounds emanating from a film, we are deeply affected by them • Sounds can cue our emotions or responses • They can reinforce or counter themes in a movie •They can heighten obviously the visual and make more dramatic or fantastic or real-seeming an action on the screen •As with any other stylistic element, sound can function in collaboration with cinematography and editing, for instance Fundamentals of Film Sound • Perceptual Properties • Loudness: can vary depending on spatial relations • Pitch: perceived highness or lowness • Timbre: the “color” or tone quality • Sound in the movies comes in three forms: speech, music, and noise (aka, sound effects and foley sounds) • Sounds are usually manipulated so as to seem more real or dramatic (for effect) • Dynamic sound is achieved when the filmmaker(s) employ a full range of sound volume and type Dimensions of Film Sound • Rhythm: beat or pulse, tempo or pace, and the pattern of accents (i.e., stronger or weaker beats) Coordinating sound rhythms with visual rhythms is common; matching movement to music is called Mickey Mousing Sound as counterpoint • • •Space: sounds have a spatial dimension in that they originate from a source diegetic sound vs. nondiegetic sound internal diegetic sound sound perspective • • • • Time: sounds happen with respect to temporal events • synchronous sound vs. asynchronous • • sound: Is the sound synchronized with the image/action? Do we see the diegetic source at the same time as we hear it? sound bridge sonic flashback or sonic flashforward Key Personnel in Sound • Sound Designer -- In charge of post-production sound of a movie • Dialogue Editor -- In charge of assembling/editing dialogue in a soundtrack • Sound Editor -- Assembles and edits all sound effects in soundtrack • Music Supervisor -- Works to choose and integrate songs in the soundtrack • Composer -- Writes musical score • Foley Artist -- Records ambient sound effects