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| reoccuring musical passage associated with person object or place |
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| music for which there is a visible source on screen, (music box, woman singing) |
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| Automated dialogue replacement, actors what the film footage and re-record their lines to be dubbed inot the sound track. |
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| the aural properties of a location when nothing is happening |
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| sound recorded directly from the source |
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| captured as sounds bounce from the walls and sets, to give a sense of space. |
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| cinema truth, a style of documenteary film making first practiced in the late 1050s that used unobtrusive lightweight cameras and sound equipment to capture real life situation. |
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| Determing the spot to place music or effects on a film. |
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| THE MEMBER OF A SOUND CREW WHO GENERATES LIVE SYNCRONIZED SOUND EFFECTS SUCH AS FOOTSTEPS, THE RUSTLE OF CLOTHING, OR A KEY TURNING IN A LOCK, WILE WATCHING THE projected film. Named after jack foley, foley tracks are eventually mixed with other audio tracks. |
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| holes punched into the film corresponding to the beat of a metronome that helps actors musicians and composer keep the rythm of the action |
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| sound that forces the audience to notice the singificance of something onscreen. such as the ominous chord struck when the billans presnese is made known. |
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| an instance in which the soundtrack reinforces the image, such as syncrohnized dialogue or sound effects or a voiceover that is consistant with what is being displayed onscreen. |
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| using sound to indicate a different meaning or association then the image. |
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| sound that is recorded during a scene or that is synchronized with the filmed images; as used by scholare siegfried kracauer, a term that describes sound that has a visible onscreen source, such as moving lip; also frefered to onscreen sound,. a |
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| a term that describes sound that does not have a vsible onscreen source; also refered to as an offscreen sound. |
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voice off- a voice that origionates form a speaker who can be inferred to be present in the scene but who is not visible in the scene. Voiceover- a voice whos source is neither visible in the frame nor implied to be offscreen, it tyically narrates the film's images such as in a flashback or commentay in a doccumentary film. |
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| functions of music in film |
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| underscore dialougue, convey psychological states, music as dialougue, emphasize actions, establish genere, setting and period, mood,ethnicity, pacing, information. |
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| emphasizes shit like traffic noises, makes a louder gun, a thunder clap, softer traffic if two fall in love. |
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| The narrative ordering of events of the sotry as they appear in the actual work, selected and arranged accordingto paticular temporal, spatial a, generic causal or other patterns. |
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| the subject matter or raw material of a narrative or our reconstruction of the events of a narrative based on what is explicitly shown and ordered in the plot. |
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| an original model or type such as satan as an archetype of evil |
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| a documentary style originating in the united states in the 1960s that aims to observe the unfolding situation as unobtrusively as possible. |
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| 1) trTreatment, tells the story as a plot, revisions of screenplay, includes dialougue chronolically ordered scene in the plot shooting script- final version of screen playwith camera positions. |
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| Three models of character coherence |
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1) cohers to one or more abstract values such as determination or treachery 2) logical relations between his or her inner or outerm ental life, and visible actions as when a sensitive character suddenly acts in a remarkably generous way. 3) charaver teflects socal and historical assumptions about normal or abnormal behavior, as when a fiftyeenth century chinese peasent women acts submissively before ment with power. |
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| nichols modes of documentary |
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poetic mode build on certian associations expositionary- voice over commentary that tells viewrs how to respond observational - observes events Participartory- film maker acknoleges their rol in the events they film Reflexive- film maker becomes the subject or commentator on subject. Performanative- process of tdetermining truth, film becomes its own process of construction. |
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| dirrive pleasure by looking at things. |
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| theories of film that deal with the position of viewer. |
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| derived from the french term for director. In auteur theory this refers to a director who conveys technical competiance without possing a strong streak of individual vision, in contract to auteur. |
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