Section A: Definitions and Examples
Word | Meaning and example from a specific movie. |
Diegetic Sound | Sounds that exist within the film’s world, like dialogue. · Example: In the film "Casablanca," the diegetic sound includes the sounds of the bustling café, like clinking glasses and distant conversations |
Non diegetic Sound | External sounds not part of the movie’s world, like a musical score. · Example: In "The Shining," the haunting music by Wendy Carlos and Rachel Elkind, used to create tension, is a notable non-diegetic element. |
Source music | Music within the film that comes from a visible source, like a character playing a song on a radio. · Example: Quentin Tarantino's "Pulp Fiction" features source music, like the iconic dance scene with Chuck Berry's "You Never Can Tell." |
On screen Sound | Sounds coming from actions or objects within the frame, like a shot of an alarm clock ringing. · Example: In "Jurassic Park," the on-screen sound of footsteps vibrating through the water alerts the characters to the approaching T-Rex |
Off Screen | Sounds occurring outside the frame but still relevant to the story. · Example: In Alfred Hitchcock's "Psycho," the off-screen sounds of the shower and the stabbing create a suspenseful and horrifying scene. |
Underscore | Background music to enhance the mood, often without a visible source. · Example: John Williams' powerful score in "Star Wars: A New Hope" serves as a memorable underscore to enhance the epic space opera |
Internal diegetic Sound | Sounds that characters can hear within the story, not audible to the audience · Example: In "A Beautiful Mind," the protagonist hears internal voices that reflect his mental state |
Background Sound | Ambient sounds that create atmosphere · Example: The ambient sounds of rain and thunder in "Blade Runner" contribute to the dystopian atmosphere. |
Foley Artist | Creates and records additional sounds to enhance the realism of a scene. · Example: In "Indiana Jones: Raiders of the Lost Ark," a foley artist created the distinctive sounds of the rolling boulder in the iconic opening scene |
Foley Sound Effects | Sounds created by Foley artists · Example: In "The Matrix," the foley sound effects of martial arts punches and kicks were carefully crafted to enhance the intensity of fight scenes. |
Sound motif | Recurring sound element representing a theme or character. · Example: The recurring five-note melody in "Close Encounters of the Third Kind" is a sound motif representing communication with extraterrestrial beings |
Monologue | A long speech by one character · Example: In "Taxi Driver," Robert De Niro's character Travis Bickle delivers a powerful and infamous monologue expressing his frustration with society. |
Sound Bridge | Overlapping sound between two scenes, connecting them. · Example: The use of overlapping sound, like waves crashing, connects scenes in "Apocalypse Now," emphasizing the surreal and chaotic nature of war. |
Sound Design | The overall creation and arrangement of a film’s auditory elements. · Example: "Blade Runner" showcases intricate sound design. |
Sound Perspective | Manipulation of sound to create a specific perception for the audience. · Example: In "Saving Private Ryan," the sound perspective in battle scenes is intense. |
Sound Mixing | Balancing and adjusting different audio elements. • Example: “Whiplash” masterfully blends the intense drumming sequences with the overall soundtrack, showcasing intricate sound mixing. |
Stings | Sharp, brief sounds used to punctuate moments. • Example: Hitchcock’s “Psycho” uses sharp violin stings to heighten the suspense in the famous shower scene. |
Melodic Sound | Harmonious, musical sounds contributing to the mood. Example: The melodic sound of the main theme in “The Godfather” becomes synonymous with the film’s narrative. |
Discordant Sound | Jarring or dissonant sounds creating tension. • Example: In “Requiem for a Dream,” Clint Mansell’s discordant score enhances the film’s portrayal of addiction and despair. |
Contrapuntal Sound | Contrasting sound against the visuals for impact. • Example: “A Clockwork Orange” uses Beethoven’s music in a contrapuntal manner, juxtaposing classical beauty with violent scenes. |
Room tone | Ambient sound recorded at a location to maintain consistency. • Example: “Lost in Translation” captures the ambient room tone of Tokyo, contributing to the film’s contemplative atmosphere. |
Walla Sound | Background murmur of crowd chatter, often inaudible. • Example: The bustling walla sound in the market scenes of “Slumdog Millionaire” adds authenticity to the setting. |
Synchronous Sound | Sound matching the on-screen action precisely. • Example: In “Casablanca,” synchronous sound aligns with the actors’ lip movements, ensuring realistic dialogue delivery. |
Asynchronous Sound | Sound not matching on-screen action intentionally for effect. • Example: “Blade Runner” uses asynchronous sound to create an eerie atmosphere, disconnecting sounds from visible actions. |
Direct Sound | Recorded on set during filming. Example: Christopher Nolan’s “Dunkirk” extensively uses direct sound to capture the realistic audio of war, recorded on location. |
Parallel Sound | Sound mirroring or complementing visual elements. • Example: In “The Social Network,” parallel sound connects with the visual narrative, enhancing the storytelling. |
Loudness | Volume and intensity of sounds. • Example: “Saving Private Ryan” employs loudness in its intense battle scenes, immersing viewers in the chaos of war. |
Silence | Absence of sound for dramatic effect. • Example: The strategic use of silence in “A Quiet Place” becomes a central element, heightening tension in a world of noise-sensitive creatures. |
Crescendo | Gradual increase in loudness or intensity. • Example: The gradual crescendo of tension in the closing scenes of “The Dark Knight” builds to a climactic moment. |
Rhythm | Pattern of sounds contributing to the film’s pace. • Example: The rhythmic editing and sound in “Baby Driver” synchronize with the protagonist’s driving skills, creating a unique cinematic rhythm. |
Section B: Analysis 1: General analysis of film opening.
Opening of “The Giver” | |||
What is the film about? | A society with citizens who have no memories of its past, except for the individual known as the Receiver of Memory. | ||
Production Company/companies | Tonik, As Is Productions, Walden Media | ||
Director | Phillip Noyce | Sound Engineer (s) | Jeff Ross |
Genre (s) | Sci-fi and Action | Movie release | August 15, 2014 |
Audience (s) | 12-18year olds | ||
Original music titles from the soundtrack. (Only from the opening.) | Main Titles by Marco Beltrami | ||
Music (List 3 words used to describe this music) | · Sincere · Upbeat · Enticing | ||
Sound Effects (List 8 effects) | · People talking in the background · Bicycle bell ringing · The sound of the bike tires · The sound of the drones · Wind · Kids talking and laughing. · The medication machine beeping · The medication machine talking. | ||
Dialogue (List the most important line in the film’s opening and why? 3 sentences to describe information. | Line: “I always felt like I saw things differently, saw things other people didn’t.” | ||
Explanation: This line is important because it hints to the audience what the movie might be about. The background has already been established and we know the setting and the circumstances. Now we know that the main character is likely to defy the rules or have some kind of internal conflict over the fact in this statement... | |||
Section C: Analysis 2:
Diegetic Sounds (Dialogue, Music and Sound Effects the audience and characters can hear.) | Non-diegetic Sounds ( voiceover, sound effects and music) |
Jonas talking to his friends The bike bell ringing | The opening music The voiceover by Johnas
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