Filmic guideline dictating that reciprocating characters in the same scene always need to have the same spatial relationship to each other.
All dialogues that have been recorded in studio once to the image track have been captured
Motion from the visualised to the non visualised field and vice versa
Sound heard without visualising the source; can be applied to any sound
Sound moving from the visualised to the non-visualised field.
Voice remaining in the non-visualised field
Expressive or informative value that the sound supplements to the image and vice versa
The spaces denoted by two shots when they are in contact
Effect of remembrance brought by the perception of a sound
Sound that follows the narrative situation at an emotional level
Audiovisual effect resulting from the visual revelation of the I-voice
Viewers’ expectation in an occurrence (visual or aural)
Sounds that are embedded in the human collective unconscious; carrying a kind of semantic meaning with them
Universally understood character behaviour or elements
Selective remembrance in a dense sonic environment; perceptive or memory deletion of a sound or a group of sound in an audible whole.
Process of instant focus on a particular sound in the audible whole.
Visual and audio information that are not following the same spatio-temporal continuum.
Three levels on which sound commands our attention based on the Gestalt principle of figure and ground
Sound perspective of a person heard as if speaking with his back facing the listener.
The quantity of information retained by the spectator, either in the short term or long term memory.
A single sound component can usually be assigned to one source at the time
Absolute perception; information focused and not influenced by anything else
A cause must precede an effect
Orientation of the look of a character onscreen; its direction orients the audience to something in the diegesis and enables to build spatial relationships within a scene
Film sound mixing rule that apply across the colour spectrum to reach a dense but still clear mix.
Element that have been overused.
Visual display through framing of a small part of the figure of an object, person, etc…
Colours that are used and/or underlined as part of the image track
The factors, aspects and their variables that affect and determine the context of a scene.
Set of rules and conventions that maintain spatial and temporal continuity, allowing the audience to experience a smooth and concrete physical narration.
Editing techniques establishing actions occurring at the same time.
Fission of two separate shots.
Bringing of a non visualised event or character on to the screen
A dry sound is a sound which is incorporating little or no sound waves reflections.
The Debureau effect is resulting from the voluntary mutism of a character. It is the spectators’ expectation to hear the sound of his voice.
Effect resulting from a combination of audiovisual effect allowing the spectators to have no focus on the voice.
Sonic dissonance compared to the overall context, unexpected sounds in relation to the context coming into perception.
One’s error in recognition of the locale of a given a sound event.
Distance between the nearest and furthest object that appears reasonably sharp on the image due to the mechanical and optic properties of the lense and sensor of the camera.
Any recording added to the footage in post production.
Everything part of the story world; everything that can be seen and heard by the characters themselves.
Sonic occurrence that change the overall sound ambience without affecting memory.
Sound recorded on location, it can be close or back captured.
If using a multispeaker projection, a sound coming from the right speaker will reach the right ear first, creating a temporal delay and sound shadow in the left ear; making us perceive upon hearing that the sound is coming from the right hand side.
Set of rules and conventions that maintain spatial and temporal continuity, allowing the audience to experience a smooth and concrete physical narration.
A dissolve is the result of a shot fading out while another is fading in, this creates a link between the two.
Physical modification of a sound when in motion
Persistence of a constant sound layer with no apparent change in pitch and intensity.
E.A.S. or Elements of Auditory Settings refer to the punctual sound residing in the ambient sounds.
Construction of the film spatio-temporal continuity
Human ability in wielding and extracting meaning from consecutive shots, sequence and ultimately the whole film
Elimination refers to the absence of vocal sound even with visual signal
Use of speech common in film
Acoustic expression of emotional states
Sound that is being indifferent of the narrative situation
Use of excessive volume of sound to put the recipient in a state that cannot be controlled cognitively
Establishes the environment of a scene
Sound that establishes, from the very beginning of a scene, the general character of the surrounding
Act of revealing information to the audience
Emotions that can be felt through the visual content of the image
Spatial dimension of the filmic sound
Soundtrack that does not follow the narrative and does not tend to fluctuate organically considering the latest
Displays a small part’s details of an object, person, etc…
Displays a large area but details can become less-defined
Editing technique that reveal visually a sound that has already been heard in the offscreen
Shot revealing something that a character has seen (offscreen) in the previous shot
Change in the relative degree of darkness and lightness, the amount of contrast and the degree of clarity in a visual image
Misleading the audience in showing a visual event not related to a previous character glance
Notion explaining that the perception of similar individual sound becomes a group when three are perceived at the same time
Specific colouration and function that give meaning to a scene or the film as a whole
Classification tool to proceed to the Murch’s density-clarity mixing method
Temporal window within the diegesis that reveal a past event to the spectators
Temporal window within the diegesis that reveal a future event to the spectators
All sounds that have been recorded in studio from a Foley artist
Shot that follows an action, character, etc…
The quality of a sound with a high ratio of direct to reflected sound
Angle of vision dictated by the camera placement
Physical limitations of the screen
Height of vision dictated by the camera placement
Level of vision dictated by the camera placement
Image content that does not expose any temporality
Voice heard from a frontal perspective.
Sound that clearly represents a specific, easily recognisable type of sound event, but without salient particularities.
A single sound change in frequency, intensity, location or spectrum is usually smooth and continuous rather than impulsive and abrupt.
Music that is used in particular events coordinating the emotions of a group of people (ex: marching, rites, war, etc…).
Tiring of the auditory nerves that result in a loss of awareness of a particular sound
Perceptive effect linked to the irresistible visual focus of a sound source by the person experiencing a sound.
Non diegetic voice of the narrator, usually dead, etc…
Sound consciously reproduced considering a reference
Physical, mental and emotional impact of musical genres
Impulsive sound usually expected through visuals or context.
A space that is deemed impossible to exist in the diegetic space of the film
Space of one shot included in the space of another
Sound occurrence that modifies the event and the behaviour of its participants.
Time for the hearing system to register the full volume of a sound.
Soundtrack that follows the narrative and tends to fluctuate organically considering the latest
Subjective sounds; physical and/or mental interiority of a character
Sound or group of sound inside a protected space that create a feeling of contextual violation when perceived.
Visual cut that omits the temporal continuity of a sequence for the narrative content.
The ability to identify other languages, mostly foreign when not subtitled.
Perceptive phenomenon that joint two separate entities (ex: lines lying along the same trajectory).
Perceptive phenomenon that groups separate entities or events.
Perceptive phenomenon that groups the same entities or events even with considerable break in time.
Conscious act of focusing on sound. There are three types, semantic, causal and reduced.
All sounds that incorporate enough room reflections and colouration.
Sound recorded on the set live
Displays a large area in which only important elements are visible.
Impossibility of extracting meaning from sound, voice
Materialising sound indices: all little details in sound occurrence that will make the event appear more real in the cinematic world
Mental spatialisation of a sonic event onscreen independent of its sonic location in the cinema space
Sound completely or partially covered by another.
Visual cut that preserves the action as a whole throughout a sequence.
Visual shape that covers the screen disabling the sense of vision to the audience
Displays small parts of the figure of an object, person, etc… in case of a human being, usually from the head to the shoulders.
Displays the full figure of an object, person, etc… and its setting for the action.
A further extension of the extra diegetic space.
Displays areas that change all framing elements; It refreshes the onscreen-offscreen space temporally, it reveals space.
Film spectatorship operates in three modes: story-awareness, medium-awareness, and world-awareness
Sequence of sound and images that omit temporal continuity, often put together symbolically.
Use of any other language than the film’s original
Perception that incorporates several sensorial inputs; in the case of cinema, sight and hearing mainly.
Voluntary silence of a character.
Methods of narrative exposition, how time and space are dealt with in the larger film structure.
Way of comprehending space, time and causality.
Any types of information helping the audience to orient to the setting, character and/or narrative events providing a particular point of view
Describes how an audience collects a series of episode into a focused causal chain.
Elements that are not part of the story world per se.
Space implied by the physical limitation of the screen, the rest of the diegetic world.
Sound transmitted by Tvs, radios, etc in film space with no subject to the natural law of sound propagation.
Visual window into the diegetic world.
Spectator willingness to fill in or ignore some information to maintain a particular spatial and/or temporal context.
Sound heard not physically but mentally.
Point with which the sound perspective is heard in a filmic situation.
Sound identified by its physical characteristics as it might be heard from a character within the film.
Layers of vocal sounds added to the general soundtrack
Two shots that are not adjacent but connected by an itinerary.
Tone and rhythm used by a person when speaking.
Semantic confirmation of the reference of a sonic ocurrence.
Sound capture that includes the attributes of the space in which it is recorded.
Sound used in order to emphasize emotions conveyed by the event on screen.
Successive appearance of a sound
Repetition of a musical motif
Sound that produces an attitude of rejection in its listener.
Room shape, dimensions and surfaces that gives emphasis to certain frequencies
Reflections of the sound emission on the surfaces of the surrounding space.
Raw atmosphere sound of a room, including electrical hums, traffic background, weather sound, etc…
Sound of the needle added to the music in vinyls
Sound and image correlating in terms of their dimension.
Precise moment of maximum impact in context of a story
Sound providing information about the narrative.
A characteristic of sound that is apparently synchronised with the onscreen actions of secondary importance.
Environment that surrounds the actors and makes the visual diegesis for the audience.
Features of the continuity editing method that exposes a character looking at another, and then, the opposite when the action permits
Near zero degree of sound.
Inherently linked with the narrative schema, it explains how the audience participates in the reconstruction of meaning in film.
Introduction of a sound before the image to which it is associated.
Balance between all sound sources
Frequency content added by the environment to a perceived signal.
Overall sonic components and their conceptual arrangement as part of the film narrative.
The amount of loudness and high frequencies remaining in the emitting sound that allows the listener to perceive its distance.
Notion that encompasses the question and answer that the audience might ask of a sound occurrence.
Parallels to the figures of speech that semantic and/or rendered sound can have.
The alteration of distance and directionality that provides us enough information to detect its movement.
Sound constructed from one or more elements to create a full filmic impact.
Major attributes of a given sound.
Sound carrying meaning considering context and emotional baggage.
Apparent size attributed to an object, character or event by the characteristics of the sound they make.
Characteristic types of sound heard in a given environment at a given time.
Another term to define the visual connection of a sonic event.
Another term to define the lack of visual connection of a sonic event.
Testimony provided by every sound to the spatial circumstances of its production.
Frame divided into two or more parts so that different space or action can be presented simultaneously.
Displays an area that does not change; all framing elements stays the same.
Narrative elements presented from the perceptual perspective of a character.
Kind of trance that can be experienced by music listeners, lowering the threshold of belief required to open to the diegetic world.
Dialogue covered by the territory sounds of its originating surrounding
Layers of sound added to the general soundtrack.
Extreme case of null extension, suppression of sounds that are naturally expected in a scene.
Perception that a certain sound belongs to the visual experience.
Meeting of a sound event and a sight event.
Selective listening with which the listener is able to valorise one element over others.
Relative length of shots making the sequence, scenes and ultimately the whole film.
Audience cognitive construction of time, space and causality through the compilation of two parts at the time.
Ability to detect sound changes over time.
Overall sounds produced by the diegetic world, usually perceived as background sound.
Speech having the power to make visible the images that it evokes.
Speech having the purpose to inform spectators and affect other characters on dramatic and psychological levels.
Revelation of information to the viewer through text onscreen
Relative perception; influenced by knowledge or expectations.
Unidentifiable Sound Object: sound that cannot be identified by the listener.
Difficulty or impossibility in the identification of a sound source.
Reproduction speed of a visual track.
One image, and sometimes more than one, placed over another to yield a double or multiple exposure.
Character of anything focusing mainly on the voice.
Formant attributes of the voice that can provide identification of a character type.
Alternative version of a fade.
Incorporation of a post production sound into the physical diegetic world.