6 - Sound Flashcards
-Loudness/Pitch/Timbre
The amplitude, or breadth, of the vibrations produces our sense of loudness, or volume. Film sound constantly manipulates volume.
The frequency of sound vibrations affects pitch, or the perceived highness or lowness of the sound.
The harmonic components of sound give it a certain color, or tone quality— what musicians call timbre
-Speech/Music/Noise
Sound in the cinema is of three types: speech, music, and noise (usually called sound effects). Occasionally, a sound may cross categories—Is a yell speech or noise? Is electronic music noise?—and filmmakers have freely exploited these ambiguities. In Psycho, when a woman screams, we expect to hear a voice but instead hear violins. Nevertheless, in most cases, the distinctions hold. Now that we have an idea of some basic acoustic properties, how are speech, music, and noise selected and combined for specific purposes?
-Futzing
, her voice would probably have been treated with filters to make it more tinny and muffled.
-Dry recording
A dry recording of the sound in a fairly nonreflective space will be manipulated electronically to yield the desired effect.
-Sound mixing
Guiding the viewer’s attention, then, depends on selecting and reworking particular sounds. It also depends on mixing, or combining them. I
-Dialogue overlap
the filmmaker continues a line of dialogue across a cut, smoothing over the change of shot.
-Sneaking in/out
In classical Hollywood cinema of the 1930s, the musical score may become prominent in moments in which there is no dialogue, and then it’s likely to fade unnoticeably down just as the characters begin to talk. (In studio parlance, this is called sneaking in and sneaking out.
-Soundbus
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-Sound perspective
This triggers the expectation that we will soon see the attackers. Kurosawa cuts to a long shot of the bandits; their horses’ hooves become abruptly louder. (The scene employs vivid sound perspective: The closer the camera is to a source, the louder the sound
-Mickey-mousing
Tightly matching movement to music came to be known as Mickey-Mousing.
-Fidelity
By fidelity, we don’t mean the quality of recording. In our sense, fidelity refers to the extent to which the sound is faithful to the source as we conceive it
-Diegetic/nondiegetic sound
diegetic sound is sound that has a source in the story world. The words spoken by the characters, sounds made by objects in the story, and music represented as coming from instruments in the story space are all diegetic sound.
Alternatively, there is nondiegetic sound, which is represented as coming from a source outside the story world. Music added to enhance the film’s action is the most common type of nondiegetic sound
-Onscreen/offscreen sound
These instances remind us that diegetic sound can be either onscreen or offscreen, depending on whether its source is inside the frame or outside the frame.
-External/Internal diegetic sound
It’s diegetic, so let’s call this external diegetic sound. Does the sound come from inside the mind of the character? That is also diegetic, but rather internal diegetic sound.
-Sound over
Any sound that is not represented as being directly audible within the space and time of the images on the screen
