Chapter 7 Sound

Chapter 7 Sound - Chapter 7: Sound in Cinema I. The Powers...

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Chapter 7: Sound in Cinema I. The Powers of sound a. IT can activiley shape how we interpret the image ex: Letter from Siberia. 3 times same shot, but each time it has a dif. Sound. b. Sound can guide us to certain areas of the frame. c. Sound is a cue for anticipation: off-screen sound. Soundtrack can clarify events or contradict them. d. Creates expectations. e. Sound gives new value to silence. II. Fundamentals of Film Sound a. Perceptual Properties i. Loudness- is related to distance, traffic noise recedes in background, and Couple digaloue louder b/c in foreground. ii. Pitch - frequency affects pitch. Helps us distinguish music and speech from noises. Vocal choices are metaphorical. iii. Timbre- harmonic components of sound give it color or tone. 1. Voice is nasal or tone mellow refers to timbre. 2. All 3 elements combine to shape our experience. a. Sound as a motif in citizen kane, Susan’s inability to produce the correct pitch. b. Selection, Alteration, and Combination. i. Three types of sound: speech, music, noise. ii. Choosing and manipulating sounds 1. Manipulation of multiple tracks. a. Experimental films make music to track. Abstract cinema is Visual Music. 2. Sound picks up the unnoticed noises, hard to filter out. 3. Stock sounds make it easy for sound people to create a city. 4. Ex: Mr. Hulot’s Holiday sound guides our expectations 5. Filmmakers use sound unrealistically in order to shift our attention to what is narratively or visually important. 6. New sounds can be made by a variety of old ones. 7. American Graffiti- nonstop rock and roll music used 2 recording of music. (dry one for when music was dominate, and a ambient one for background noise. iii. Sound Mixing. 1.
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Chapter 7 Sound - Chapter 7: Sound in Cinema I. The Powers...

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