Diese Präsentation wurde erfolgreich gemeldet.
Die SlideShare-Präsentation wird heruntergeladen. ×

Importance Of Sound In Film

Anzeige
Anzeige
Anzeige
Anzeige
Anzeige
Anzeige
Anzeige
Anzeige
Anzeige
Anzeige
Anzeige
Anzeige
Wird geladen in …3
×

Hier ansehen

1 von 18 Anzeige
Anzeige

Weitere Verwandte Inhalte

Aktuellste (20)

Anzeige

Importance Of Sound In Film

  1. 1. IMPORTANCE OF SOUND IN FILM. T H E P O W E R P O I N T T E M P L A T E ADD YOUR NAME
  2. 2. BRIEF INTRODUCTION. PURPOSE OF SOUND IN FILM. TYPES OF SOUND IN FILM. 01 02 03 CONTENT
  3. 3. 01 ONE BRIEF INTRODUCTION.
  4. 4. ADD YOUR TITLE HERE ‘’Imagine your favourite film without a sound, it is possible that your favourite film would not have the same effect if it does.’’
  5. 5. 5 Film is a visual medium – it tells its story through pictures and when films began there was no organic sound at all. However, even in the early days of cinema, films were accompanied by a musical score played live at the showing because sound was an integral part of the cinematic experience. The sound used in film and video might not always stay with you, and sometimes you might not consciously notice it at all, but anyone would notice if it wasn’t there. This is because it is an essential component of the immersion that film depends on its unique appeal. The importance of sound in film and video lies in its ability to elevate a piece beyond the visuals or the narrative alone and connect with an audience on a more sensory level.
  6. 6. 02 TWO TYPES OF SOUND IN FILM
  7. 7. Diegetic Sound. ‘’What Characters hear, we can also hear.’’ This is sound that emanates from the storyworld of the film. It originates from the Greek word ‘’diegesis’’ which means narrative. Diegetic sound has a source on-screen, usually recorded during production phase at the time of the shoot. Can be classified into; 1. Ambient Sound- Background noises that create atmosphere. e.g. footsteps, birds tweeting, traffic, restaurant voices e.t.c. 2. Dialogue- Conversation between multiple or by a character. 3. Music(within the film world) e.g. c.d. playing, a live band, 4. Sound Effects(synchronised into the action) e.g. gun firing, door slamming, car bakes screeching.
  8. 8. Non-diegetic sound. ‘’Sounds that we hear , charcters in a film can’t’’. This is non-literal sound that doesn’t originate from anywhere within the storyworld of the film. Non-diegetic sound is the sound that is added in the post- production phase during the editing process with no on-screen source, such as; 1. Narration- this is a voice- over added to give information to the viewer to the imagery on screen 2. Soundtrack.- music played to create atmospher for viewer. 3. Sound Effects- additional sounds that help create a dramatic atmosphere.
  9. 9. 03 PURPOSE OF SOUND IN FILM.
  10. 10. Synchronization Of Senses. Sound engages a distinct sense which can lead to a synchronization of senses, making a single ryhthmn or expressive quality unify both image and sound.Sound offers an ‘’added value’’ to film... an energetic fl ux between two concepts easily being depicted, one of them displayed by an optical and the other by an acoustic representation. These representations modify the perception of each other by adding or stressing certain attributes while attenuating others. Motion generates sound, no matter where it occurs, and the sound must be precisely adapted to the optical representation. This why, in cinema, sound not only unifies the perception of time but also structures its flow.
  11. 11. Therefore; Sounds and dialogue must perfectly sync with the actions in a film without delay and must sound the way they look. This creates a meticulous flowing ryhthmn. If a sound doesn’t quite match the action on screen, the action itself isn’t nearly as believable. One way to achieve believable, high-quality sounds is to use original sound clips rather than relying solely on sound libraries for sound effects.
  12. 12. Orientation (Introduction of Locations) Traditionally it has been a main function of sound effects to link the fragmented sections of pro-filmic reality and to tie them to an organic ensemble. By this process, the soundtrack facilitates orientation both in the space-time construction of diegesis and the narrative structure of scenes, sequences, acts and events. Ambient sounds for example create complex environments in close interaction with the visuals, the text provided by dialogues and titles, and the music e.g. when crickets and barking dogs in the distance as described above mean ‘exterior night’ independently of the geographical location, this strategy becomes audible.
  13. 13. The soundtrack has been used since its introduction to characterize locations, since perception of the environment as an unbroken stream of acoustic data is a fundamental characteristic of hearing e..g. the upholstered, whisper-quiet ambience of a hotel lobby has quite a different effect fromthe raw unruly loudness of a kindergaten, for instance. Hearing impressions catapult us – just like odours – back into our early experiences. They invoke internal images, entire landscapes emerge before our inner eye and long forgotten feelings are awoken.
  14. 14. Subjective Transmissions. Sound can be used a shift from the narrative of the story world into another dimension. Dreams, hallucinations and other forms of subjective perceptions can be expressed through sound. Hearing is the medium of a constant sensory exchange with the world which surrounds us: we cannot close our ears. Interrupting this acoustic continuum in the course of a film makes a statement. The fading away of sound effects marks or simulates a loss of connection to reality. The subject, the character, is decoupled from the sound environment and thus from reality itself.
  15. 15. The Emotion Of Sound. (Setting of tone and creation of Mood.) Outsideoftheactionfilm,soundinfilmhasnoproblemmaintaining astronginfluenceinthecinematicworld.Horrorfilmsscareviewersusingsound.Comediesus esoundtomakeviewerslaugh.Butin noothergenreissoundmoreimportantandeffectivethaninthe drama genre. Emotionplayssuchanenormousroleinthesefilms asitsprotagonists experiencemanyoccasionswhereemotionsrunextremelyhigh, suchasfallinginloveorthelossofafriend. Music, when non-diegetically used, offers more to an audience by cnoveying the message effectively. A piano instrument, playing in the background, with sad lyrics, with a slow melody can sets a deeper somber mood in the film.
  16. 16. Aspect Of Realism. Background and atmospheric noises are essential to the visuals of a film. The background and atmospheric noise tell the audience where the scene is taking place. Although these sounds are usually quiet, they are essential to a scene, as they appeal to the audience on a subconscious level. Without them, the scene will feel unnatural to the audience. Without them, the realism of the scene is taken away and it stands out to the viewer, even if they aren’t sure why. If the scene is taking place on a busy street, the background noise needs to consist of noises you typically hear in that setting. There should be sounds of people talking, car horns and the light sounds of engines revving. If the scene is in a forest, the background noise might be of blowing wind, leaves rustling and animal sounds. It features anything that will inform the audience of where the scene is set
  17. 17. In an action scene, such as a fight scene, sounds likely include the impact of a punch or grunts from the fighters. Sound designers will go through a fight scene carefully to make sure all of the hits and impacts sound authentic. This could mean making some hits louder than others or even combining two or more hit sounds to make the impact seem heavier to viewers. All of these combined together will bring the audience into the scene and make it seem more realistic.

×