Difference between revisions of "JCM312/Sound"

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==Purposes of sound on television==
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'''Sound perspective'''
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''Television'' lists four "purposes of sound on television":
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#What is ''sound perspective'' in film?
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#Capturing viewer attention.
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#*[http://tvcrit.com/find/uglybetty ''Ugly Betty'' example of sound perspective mismatch.]
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#Manipulating viewer understanding of the image.
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#What are the different types of microphone pick-up patterns? How do they affect sound perspective? E.g., how would you describe the likely sound perspective of the ''Mad Men'' scene below?
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#Maintaining televisual flow.
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<gallery mode="packed" heights=200px>
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#Maintaining continuity within individual scenes.
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File:Mad-Men-January-on-set l.jpg
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</gallery>
  
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==All groups: sound exercises==
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'''Sound and time'''
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In class, we'll view a Dodge commercial and examples of how sound can manipulate viewer understanding of the image--that is, can change its meaning.  
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#The time frame of a narrative scene's sound need not match the time frame of its image.  
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#As a group, choose a well-known song that, if laid over the commercial, would change its meaning. (No R-rated songs, please.) We'll find an excerpt of it online and lay it over the commercial. Be prepared to explain to the class how your song changes the commercial's meaning.
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#*How is time manipulated in these [http://tvcrit.com/find/damages ''Damages''] and [https://vimeo.com/345041314 ''Traffic''] scenes?
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#Think back to the ''Chevrolet'' commercial that we broke down and the shot of Mother, salesman, Father, son in the car. As a group, pretend you're doing ADR (and what is ADR?) for this shot and write dialogue that illustrates how sound editors can manipulate sound perspective to alter our understanding of a scene (somewhat like the sound editor of ''Wonder Years'' did in Figure 8.6, but do not copy that example).
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#*Illustrate how sound and time could be manipulated in this shot with some other dialogue.
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'''Diegetic and nondiegetic sound'''
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#*Finally, include audio that illustrates the difference between diegetic vs. nondiegetic sound.
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#What is a ''diegesis''?
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#*What is diegetic sound? Nondiegetic sound? Examples?
  
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==Types of sound==
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'''Sound technology'''
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#'''Back Group:''' What are the three main types of sound in TV production and how do digital audio workstations mirror those three types? ([http://tvcrit.com/find/protools See ''Ugly Betty'' ProTools layout for music editor.])
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#What are the three main types of sound in film and TV production and how do digital audio workstations mirror those three types? ([http://tvcrit.com/find/protools See ''Ugly Betty'' ProTools layout for music editor.])
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#'''Front Group:''' What is "public domain" music? What are "master rights"? How do master rights apply to DVD releases of TV programs?
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#Explain these terms in the context of digital audio: sampling, dynamic range, and frequency response.
  
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==Sound technology==
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'''Sound-image interaction exercise'''
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# '''Front Group:''' Explain these terms in the context of digital audio: sampling, dynamic range, and frequency response.
 
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# '''Back Group:''' What are the different types of microphone pick-up patterns? How do they affect ''sound perspective''? (''Ugly Betty'' example?)
 
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[[File:Mad-Men-January-on-set l.jpg]]
 
  
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== Bibliography ==
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What does ''Television'''s exercise (using a [http://tvcrit.com/find/audioexperiment 1957 Dodge commercial]) illustrate?
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#Butler, Jeremy G. ''Television: Critical Methods and Applications''. Mahweh, NJ: Lawrence Erlbaum Associates, 2007.
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#As a group, choose a well-known song that, if laid over the commercial, would change its meaning. (No R-rated songs, please.) We'll find an excerpt of it online and lay it over the commercial. Be prepared to explain to the class how your song changes the commercial's meaning.
  
 
==External links==
 
==External links==
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*[http://www.tcf.ua.edu/EO/DV/Dodge1957/ Dodge commercial]
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*[https://tvcrit.org/Classes/Jbutler/TVCrit2018_images_ByChapters/11/ ''Television'', sound chapter illustrations]
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*[http://www.tcf.ua.edu/tvcritgallery/index.php/chapter08 Sound chapter illustrations]
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*[https://vimeo.com/345098436 Dodge commercial] or [http://criticalcommons.org/Members/jbutler/clips/dodge1957commercial_originalaudio.mp4/view Critical Commons version]
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*[http://tvcrit.com/find/burns George Burns, direct address]
 
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*[http://tvcrit.com/find/mac Bernie Mac direct address]
 
 
*[http://tvcrit.com/find/damages ''Damages'' sound-time manipulation]
 
*[http://tvcrit.com/find/damages ''Damages'' sound-time manipulation]
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*[https://tvcrit.org/Classes/Jbutler/T340/ClassicismIllustrations01.htm Classical Hollywood sound examples]
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== Diegetic and nondiegetic sound==
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*[https://tvcrit.org/EO/DV/FilmArt/index02.htm ''Film Art'' examples]
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#First, a review question, from the chapter on narrative form: what is a ''diegesis''?
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**[https://vimeo.com/345041314 ''Traffic'' example]
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#*So, what is diegetic sound?
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**[https://tvcrit.org/EO/DV/ManEscaped.htm ''A Man Escaped'' example]
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#Bordwell/Thompson's Table 7.2 "Temporal Relations of Sound Cinema" (p. 289, 8th edition) divides film sound into '''diegetic''' and '''nondiegetic''' categories. Then it divides the diegetic/nondiegetic categories into different uses of time (hence, "temporal"). This results in six different ways in which time, diegetic space and sound interact (listed below). Provide an example from a film we've seen (or just make up an example) for each.
 
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##'''Group 4:''' Diegetic nonsimultaneous, sound earlier than image.
 
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##Diegetic simultaneous.
 
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##'''Group 1:''' Diegetic nonsimultaneous, sound later than image.
 
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##'''Group 2:''' Nondiegetic nonsimultaneous, sound earlier than image.
 
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##Nondiegetic simultaneous.
 
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##'''Group 3:''' Nondiegetic nonsimultaneous, sound later than image.
 
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#Considering the categories above, what types of sound are in the ''Traffic'' example?
 
  
 
== Bibliography ==
 
== Bibliography ==
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#Jeremy G. Butler, ''Television: Critical Methods and Applications'' (New York: Routledge, 2011).
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#Jeremy G. Butler, ''Television: Visual Storytelling and Screen Culture'' (New York: Routledge, 2018).
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#David Bordwell and Kristin Thompson, ''Film Art: An Introduction'', 8th ed. (New York: McGraw-Hill, 2007).
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#David Bordwell and Kristin Thompson, ''Film Art: An Introduction'', (New York: McGraw-Hill).
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==External links==
 
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#[http://www.tcf.ua.edu/Classes/Jbutler/T340/ClassicismIllustrations01.htm Classical Hollywood sound examples]
 
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#[http://www.tcf.ua.edu/EO/DV/FilmArt/index02.htm ''Film Art'' examples]
 
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#*[http://www.tcf.ua.edu/EO/DV/FilmArt/Traffic.htm ''Traffic'' example]
 
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#*[http://www.tcf.ua.edu/EO/DV/ManEscaped.htm ''A Man Escaped'' example]
 
  
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[[Category:TCF340 Discussion]]
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[[Category:JCM312 Discussion]]

Latest revision as of 19:05, 4 September 2019

Sound perspective

  1. What is sound perspective in film?
  2. What are the different types of microphone pick-up patterns? How do they affect sound perspective? E.g., how would you describe the likely sound perspective of the Mad Men scene below?
  • Mad-Men-January-on-set l.jpg

Sound and time

  1. The time frame of a narrative scene's sound need not match the time frame of its image.

Diegetic and nondiegetic sound

  1. What is a diegesis?
    • What is diegetic sound? Nondiegetic sound? Examples?

Sound technology

  1. What are the three main types of sound in film and TV production and how do digital audio workstations mirror those three types? (See Ugly Betty ProTools layout for music editor.)
  2. Explain these terms in the context of digital audio: sampling, dynamic range, and frequency response.

Sound-image interaction exercise

What does Television's exercise (using a 1957 Dodge commercial) illustrate?

  1. As a group, choose a well-known song that, if laid over the commercial, would change its meaning. (No R-rated songs, please.) We'll find an excerpt of it online and lay it over the commercial. Be prepared to explain to the class how your song changes the commercial's meaning.

External links

Bibliography

  1. Jeremy G. Butler, Television: Visual Storytelling and Screen Culture (New York: Routledge, 2018).
  2. David Bordwell and Kristin Thompson, Film Art: An Introduction, (New York: McGraw-Hill).
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