Difference between revisions of "JCM312/Sound"
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+ | ==Purposes of sound on television== | ||
+ | ''Television'' lists four "purposes of sound on television": | ||
+ | #Capturing viewer attention. | ||
+ | #Manipulating viewer understanding of the image. | ||
+ | #Maintaining televisual flow. | ||
+ | #Maintaining continuity within individual scenes. | ||
+ | |||
+ | ==All groups: sound exercises== | ||
+ | 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. | ||
+ | #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. | ||
+ | #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). | ||
+ | #*Illustrate how sound and time could be manipulated in this shot with some other dialogue. | ||
+ | #*Finally, include audio that illustrates the difference between diegetic vs. nondiegetic sound. | ||
+ | |||
+ | ==Types of sound== | ||
+ | #'''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.]) | ||
+ | #'''Front Group:''' What is "public domain" music? What are "master rights"? How do master rights apply to DVD releases of TV programs? | ||
+ | |||
+ | ==Sound technology== | ||
+ | # '''Front Group:''' Explain these terms in the context of digital audio: sampling, dynamic range, and frequency response. | ||
+ | # '''Back Group:''' What are the different types of microphone pick-up patterns? How do they affect ''sound perspective''? (''Ugly Betty'' example?) | ||
+ | [[File:Mad-Men-January-on-set l.jpg]] | ||
+ | |||
+ | == Bibliography == | ||
+ | #Butler, Jeremy G. ''Television: Critical Methods and Applications''. Mahweh, NJ: Lawrence Erlbaum Associates, 2007. | ||
+ | |||
+ | ==External links== | ||
+ | *[http://www.tcf.ua.edu/EO/DV/Dodge1957/ Dodge commercial] | ||
+ | *[http://www.tcf.ua.edu/tvcritgallery/index.php/chapter08 Sound chapter illustrations] | ||
+ | *[http://tvcrit.com/find/burns George Burns, direct address] | ||
+ | *[http://tvcrit.com/find/mac Bernie Mac direct address] | ||
+ | *[http://tvcrit.com/find/damages ''Damages'' sound-time manipulation] | ||
+ | |||
== Diegetic and nondiegetic sound== | == Diegetic and nondiegetic sound== | ||
#First, a review question, from the chapter on narrative form: what is a ''diegesis''? | #First, a review question, from the chapter on narrative form: what is a ''diegesis''? |
Revision as of 14:51, 30 August 2012
Purposes of sound on television
Television lists four "purposes of sound on television":
- Capturing viewer attention.
- Manipulating viewer understanding of the image.
- Maintaining televisual flow.
- Maintaining continuity within individual scenes.
All groups: sound exercises
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.
- 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.
- 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).
- Illustrate how sound and time could be manipulated in this shot with some other dialogue.
- Finally, include audio that illustrates the difference between diegetic vs. nondiegetic sound.
Types of sound
- Back Group: What are the three main types of sound in TV production and how do digital audio workstations mirror those three types? (See Ugly Betty ProTools layout for music editor.)
- Front Group: What is "public domain" music? What are "master rights"? How do master rights apply to DVD releases of TV programs?
Sound technology
- Front Group: Explain these terms in the context of digital audio: sampling, dynamic range, and frequency response.
- Back Group: What are the different types of microphone pick-up patterns? How do they affect sound perspective? (Ugly Betty example?)
Bibliography
- Butler, Jeremy G. Television: Critical Methods and Applications. Mahweh, NJ: Lawrence Erlbaum Associates, 2007.
External links
- Dodge commercial
- Sound chapter illustrations
- George Burns, direct address
- Bernie Mac direct address
- Damages sound-time manipulation
Diegetic and nondiegetic sound
- First, a review question, from the chapter on narrative form: what is a diegesis?
- So, what is diegetic sound?
- 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.
- Group 4: Diegetic nonsimultaneous, sound earlier than image.
- Diegetic simultaneous.
- Group 1: Diegetic nonsimultaneous, sound later than image.
- Group 2: Nondiegetic nonsimultaneous, sound earlier than image.
- Nondiegetic simultaneous.
- Group 3: Nondiegetic nonsimultaneous, sound later than image.
- Considering the categories above, what types of sound are in the Traffic example?
Bibliography
- Jeremy G. Butler, Television: Critical Methods and Applications (New York: Routledge, 2011).
- David Bordwell and Kristin Thompson, Film Art: An Introduction, 8th ed. (New York: McGraw-Hill, 2007).