1. Beyond “watching”: Film Sound

2. Sound in the Cinema Two simple but profound realities about sound in film: 1.Sound is the most difficult film technique to study. Why? 2.There was really never such a thing as a “silent film.” Why?

3. Considering Sound Four essential considerations in studying film sound:  Types of Sound  Qualities of Sound  Sound as Formal Cue  Sound and Editing

4. Types of Sound There are three categories of sound in film:  Speech  Music  Noise Sometimes these overlap – for example, a person singing is both speech and music, while a person mumbling in his sleep might be both speech and noise.

5. Qualities of Sound Volume – how loud or quiet a sound is to the perceiver. Pitch – the “lowness” or “highness” of the sound’s frequency. Timbre – the synaesthetic quality of a sound (its “color,” its “feel”). Rhythm – the beat, tempo and/or accents created through sound.

6. Sound Qualities (Hyperlink)

7. Creating Qualities of Sound Sound recordists and sound editors can create sound qualities through techniques such as  Dry Recording – in a studio soundbooth, no ambient noise  Combining or Layering – combining multiple sound recordings to achieve verisimilitude  Futzing – manipulating a recording to create a fuzzy or tinny sound  Foley – creating sounds using available tools

8. Sound as Formal Cue Sound engages a distinct sense mode for the viewer by linking the visual with the aural. These links create cues via:  Directed attention – if we hear it, we’ll look for it  Formal expectations - surprise, suspense, even curiosity  Altered interpretation of visual image – sound can make us laugh at something sad or cry at something funny  The value of silence – it’s rare and shocking

9. Sound as Formal Cue (Hyperlink)

10. Interpretation (Hyperlink)

11. Silence (Hyperlink)

12. Sound and Editing Sound is technically and stylistically related to editing, in that both involve the juxtaposition of content (visual or aural) in order to create a coherent whole. Sound may be even more powerful than editing in creating that coherence, though – sound can function both diegetically and nondiegetically, and can “appear” both onscreen and offscreen.

13. Sound and Coherence Sound in film is used to achieve narrative coherence by interacting effectively with  Continuity Editing  Story vs. Plot (Diegetic Sound and Nondiegetic Sound)  Visual Space

14. Sound and Continuity Editing Essential techniques of sound editing to achieve continuity:  Dialogue Overlap – Character B begins speaking while we’re still looking at Character A  Sound Over – the sound we hear (music, dialogue, effects) does not come from the screen space  Sound Bridge – sound from scene 1 carries over into scene 2; or sound from scene 2 begins before scene 1 ends

15. Dialogue Overlap (Hyperlink)

16. Sound Over (Hyperlink)

17. Sound Bridge (Hyperlink)

18. Sound and Diegesis Sound can be Diegetic (meaning it exists in both plot and story – in both our world and the world of the film’s characters). Diegetic Sound can be Internal Diegetic Sound or External Diegetic Sound. Sound can also be Nondiegetic (meaning it exists in plot but not in story – it exists in our world but not in the characters’ world.)

19. Sound and Visual Space Sound Perspective creates a spatial relationship between sound & image. Diegetic Sound always has a relationship with the space visible in the Mise-en-Scene. It can be:  Onscreen vs. Offscreen Diegetic Sound – do we see its source or not?  Simultaneous vs. Nonsimultaneous – is it from this point in the chronology or not?  Synchronous vs. Asynchronous – does the sound line up exactly with the image?