Media Glossary : Sound...

Though many see film as essentially an visual experience, people should not underestimate the importance of sound within film. A meaningful sound track can be as complicated as the images on screen, and can create an direct effect from the audience (example = an emotional piece, holds much more drama and realism when accompanied by a meaningful sound track). However the sound within film does not necessarily have to match the image or be continuous. Directors such as Robert Altman are famous for their complex use of the soundtrack, by layering multiple voices and sound effects.

NON-DIGENTIC SOUND



This is the sound that can only be heard by the audience, it can be in format of narration of a sound track. The source of sound therefore originates from outside the film world, meaning that the characters do not react to the sound at all, it is only us as audience members who can hear. An example of non-digentic sound is the short film 'Through Movements'

DIGENTIC SOUND

This is the sound that originates from a source within the film world, therefore can be heard by characters within the scene and in turn they react to the sound. However there is also an distinction that can be made between external and internal diegetic sound. An example of external sound is a character speaking out loud, because it is out loud any other character can hear him, whilst as an example of internal sound is sounds that only revolve in a characters head so that no one else within the film would can heard them. Most films include diegentic sound, and an example of the use of both internal and external sound is the virgin media short "The Ex Factor".

SOUND BRIDGE

A sound bridge can lead in or out of a scene. They can occur at the beginning of one scene when the sound from the previous scene is carried over briefly before the sound from the next scene begins. Alternatively they can occur at the end of a scene, when the sound from the next scene is heard before the image appears on the screen. Sound bridges are one of the most common transitions in the continuity edit styles, as one that stresses the connection between both scenes since they mood which is suggested by the music stays the same. Sound bridges can also be used however as a creative method, such as romantic music being played to imply possible new relationships within the film. Over all a sound bridge adds to the smoothness of the continuity, by running sound from one shot across a cut to another shot to make the action seem uninterrupted.

NARRATION/VOICE OVER

This when commentary is spoken off screen, it tells the narrative of the film whilst it still continues however within the image the character is not speaking. A voice-over is often used to give a sense of the characters subjectivity or to narrate and event told in flashbacks. A voice over can be used to; introduce particular parts of a programme, to add extra information not evident from the picture, to interpret the images for the audience from a particular point of view or to like parts of a sequence or programme together. A voice-over can also be used in a non literal or iconic way, where the words that a character states do not seem to match the action they perform. Within my AS piece I incorporated a voice-over of the mother whilst a flashback was being shown. An example of a short film that just uses non-diegentic narration is the film 'Love Sick'.

SYNCHRONOUS SOUND

This is when sound is matched temporally with the movements occurring in the images, as when dialogue corresponds with lip movements, meaning that all synchronised sound is diegentic. The sound can come from both on-screen and off-screen sources, but in order for the it to be synchronised all the sound must work with the scene therefore be in realistic hearing range.
ASYNCHRONOUS SOUND

All non-diegentic is asynchronous, this involves sound which is not synchronised with the visuals, however it can also be diegetic sound if in reality the sound would not be able to be hear and seen in the event simultaneously. There are two common uses of why asynchronous sound is used within films; bridging a cut in order to create a sound bridge and also to create a meaningful juxtaposition.

SCORE

This is music that is specifically composed to accommodate an image, it not only can enhance the mood or atmosphere but also can be used thematically (example = within pantos a score is used in the form of a musical tune to represent a character such a wicked sound to represent the villain). The music can be discordant or melodic depending on the desired emotional effect being created for the audience.

MUSIC



Music helps to establish a sense of the pace of the accompanying scene. The rhythm of music usually dictates the rhythm of the cuts. The emotional occurring of the music also reinforces the mood of the scene. Background music is asynchronous music, which accompanies a film  it is therefore not normally intended to be noticeable. Conventionally, background music accelerates for a chase sequence, becomes louder to underscore a dramatically important action. Through repetition is can also link shot, scenes and sequences. Foreground music is often synchronous music which finds its source within the screen events (example = from a TV in the scene). It may be a more credible and dramatically plausible way of bringing music into a programme than background music. An example where only music is used to create an emotional response from the audience is in the short film 'Beau'.