UCSC Film 20A Midterm part 6
Terms
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- diegetic sound
- sound which has its source in the narrative world of film
- natural sound
- sound recorded during production that may be indistinct due to noise, perspective, or other problems, and much of the actor's performance will depend on intelligibility of dialogue
- 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 known
- source music
- diegetic music, such as a shot of a band performing at a party or characters listening to music
- mickey-mousing
- over-illustrating the action through the score, such as accompanying a character walking on tip-toe with plucked strings
- postsynchronous sound
- sound recorded after the fact and then synchronized with onscreen sources, is often preferred for the dialogue used in the final mix
- click track
- holes punched in the film to keep the beat of the action
- cue
- a piece of music composed for a certain place in a film
- asynchronous sound
- sound that doesn't have a visible onscreen source, such as narration
- automated dialogue replacement (ADR)
- the process in which actors watch the film footage and re-record their lines to be dubbed into the soundtrack
- voice-off
- technique where a voice seems to originate from on offscreen speaker, but is a character in the scene
- parallelism
- this occurs when the soundtrack and image "say the same thing"
- inaudibility
- the principle of this is analagous to the "invisible" editing style of the continuity system
- sound montage
- this reminds us that just as a film is built up of bits and pieces of celluloid, a soundtrack is not a continuous gush of sound from the real world, but is composed of separate elements whose relationship to each other can be creatively manipulated and reflected upon
- sound bridge
- when a sound carries over a visual transition in a film
- synchronous sound
- sound with a visible onscreen source, such as when dialogue appears to come directly from the speaker's moving lips
- sound continuity
- the range of scoring, sound recording, mixing, and playback processes that strive for the unification of meaning and experience by subordinating sound to the aims of the narrative
- dialogic
- double voiced quality, this means that films convey multiple messages
- invisibility
- this refers to the predominance of nondiegetic music (over the actual depiction of musicians) and to the fact that technical apparatus that produces film music, like the camera and the projector responsible for the image we see, is never seen
- diegesis
- this refers to the world of the film's story, including not only what is shown but also what is implied to have taken place
- reflected sound
- captured as sounds bounce from the walls and sets
- nondiegetic sound
- sound which does not belong to the characters' world
- counterpoint
- when two different meanings are implied by elements of parallelism
- semi or internal diegetic sound
- voiceovers of character thoughts
- direct sound
- sound captured directly from its source
- spotting
- the process in which the director consults with the composer and the picture and sound editors to determine where music and effects will be added
- motives
- themes assigned to particular figures