MEDIA WORDS GLOSSARY /// HOMEWORK

TYPES OF SOUND

 dialogue =  conversation between two or more people as a feature of a book, play, or film.

music = vocal or instrumental sounds (or both) combined in such a way as to produce beauty of form, harmony, and expression of emotion.

 sound effects =a sound other than speech or music made artificially for use in a play, film, or other broadcast production.

 DIEGETIC AND NON-DIEGETIC SOUND 
diegetical sound has physical origin in the film world. Diegetic sound is a noise which has a source on-screen. They are noises which have not been edited in, for example dialogue between characters or footsteps.

Non-diegetic sound is a noise which does not have a source on-screen, they have been added in. For example music, voiceover, sound effects.


Emotional realism 

 Emotional realism. The same sound can serve both the physical and the emotional meaning. It is possible to superimpose the emotional realism over the physical of the scene. The sound track reflects the mood of the story and the characters feelings.


Contrapuntal sound

 Sound that doesn't match with the scene. this could dis orientate the audience.



Parallel sound 

parallel sound is when the sound works with the scene which is happening. so its in rhythm. it is the complete obvious to contrapuntal.


exaggerated / pleonastic sound 

 filmmakers often use exaggerated sound to heighten emotion or meaning in a scene.


foley

recorded sounds added into the scene. such as footsteps.


MICROANALYSIS

 https://www.youtube.com/watch?v=u5Z7C18lUss


'' US '' by Jordan peele has been heavily praised on its use of sound. it manages to create a tense vibe through out the film with its use of , instruments , songs and dialogue. Peele somehow used contrapuntal songs in the film to make it seem parallel with the story. the soundtrack mirrors the script’s central conceit of doppelgängers. Just as the antagonists are darker, severely askew riffs on the main characters, a handful of popular songs become more sinister, innocent, or just plain funny depending on their context. In one scene, The Beach Boys’ “Good Vibrations” functions as background noise for a character at home. In another, the same song becomes a kind of sped-up death waltz. N.W.A.’s “F**k the Police” gets played for both comic relief and dramatic irony, and Luniz’s “I Got 5 On It” becomes Us‘ unexpected theme as both nostalgic road-trip music and a relentless sonic landscape for the film’s climax.










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