Pick 3 scenes from the 1979, Francis Ford-Coppola film ‘Apocalypse Now’ and critically appraise the sound in these scenes using film sound theory terms
Order Description
Aims and Summary
This module introduces the theory and practice associated with sound in film, television and computer games. It examines the tools and methods utilised in recording and synching dialogue, creating sound effects and musical accompaniment for sound to picture. The theoretical content encompasses Film Sound Theory, the implementation of ADR, Foley, production and post-production sound, audio programming for games and nonlinear audio platforms associated with game engines. The practical content incorporates current industry practice and technologies and engages students both individually and collaboratively in set briefs, the aim being to produce high quality portfolio material and to gain an understanding of commercial practices and aesthetics.
Assessment
There are intended module learning outcomes against which your work will be assessed. On completion of this module you should be able to:
1) understand the significance and uniqueness of sound and music as modes of communication and meaning production;

2) analyse sound and music artefacts/performers as cultural expression;
3) understand the relationship between notions of creativity, artistry and commercial imperatives in the sphere of professional sound and music production;

4) critically evaluate how audiences perceive, understand and produce meaning from sound and music.

Module Resources, Recommended reading and other reference material
Essential Reading
Yewdall, D.L. (2007) The Practical Art of Motion Picture Sound, Oxford. Focal Press
Sonnenschein, D. (2001) Sound Design, The Expressive Power of Music, Voice, and Sound Effects in Cinema. Studio City CA. Michael Wiese Productions.
Weis, E. Belton, J. (1985) Film Sound, Theory And Practice, New York. Columbia University Press
Cook, F.D. (2013) Pro-Tools 101, An introduction to Pro-Tools 11, Boston, MA, Cengage Learning PTR

Recommended Reading
Holman, T. (2010) Sound for Film and Television, Oxford. Focal Press
Viers, R. (2008) The Sound Effects Bible, How to Create and Record Hollywood Style Sound Effects, Studio City, CA. Michael Wise Productions
Rose, J. (2008) Producing Great Sound for Film and Video, Oxford. Focal Press
Brief: assignment 2- Critical Appraisal Film Sound (50%)

Written work: (2000 words) Pick 3 scenes from the 1979, Francis Ford-Coppola film ‘Apocalypse Now’ and critically appraise the sound in these scenes using film sound theory terms. Paying particular attention to the dimensions of the sound track: Time, Space, Fidelity and Rhythm. Evaluate the content, style and intended meaning of the soundtrack and consider the impact of the film’s sound design on subsequent films.

The 3 scenes:
1-( 00:24:10 to 00:31:10).
2-( 01:17:00 to 01:22:30).
3-( 02:53:16 to 03:05:00).

Pick 3 scenes from the 1979, Francis Ford-Coppola film ‘Apocalypse Now’ and critically appraise the sound in these scenes using film sound theory terms
Order Description
Aims and Summary
This module introduces the theory and practice associated with sound in film, television and computer games. It examines the tools and methods utilised in recording and synching dialogue, creating sound effects and musical accompaniment for sound to picture. The theoretical content encompasses Film Sound Theory, the implementation of ADR, Foley, production and post-production sound, audio programming for games and nonlinear audio platforms associated with game engines. The practical content incorporates current industry practice and technologies and engages students both individually and collaboratively in set briefs, the aim being to produce high quality portfolio material and to gain an understanding of commercial practices and aesthetics.
Assessment
There are intended module learning outcomes against which your work will be assessed. On completion of this module you should be able to:
1) understand the significance and uniqueness of sound and music as modes of communication and meaning production;

2) analyse sound and music artefacts/performers as cultural expression;
3) understand the relationship between notions of creativity, artistry and commercial imperatives in the sphere of professional sound and music production;

4) critically evaluate how audiences perceive, understand and produce meaning from sound and music.

Module Resources, Recommended reading and other reference material
Essential Reading
Yewdall, D.L. (2007) The Practical Art of Motion Picture Sound, Oxford. Focal Press
Sonnenschein, D. (2001) Sound Design, The Expressive Power of Music, Voice, and Sound Effects in Cinema. Studio City CA. Michael Wiese Productions.
Weis, E. Belton, J. (1985) Film Sound, Theory And Practice, New York. Columbia University Press
Cook, F.D. (2013) Pro-Tools 101, An introduction to Pro-Tools 11, Boston, MA, Cengage Learning PTR

Recommended Reading
Holman, T. (2010) Sound for Film and Television, Oxford. Focal Press
Viers, R. (2008) The Sound Effects Bible, How to Create and Record Hollywood Style Sound Effects, Studio City, CA. Michael Wise Productions
Rose, J. (2008) Producing Great Sound for Film and Video, Oxford. Focal Press
Brief: assignment 2- Critical Appraisal Film Sound (50%)

Written work: (2000 words) Pick 3 scenes from the 1979, Francis Ford-Coppola film ‘Apocalypse Now’ and critically appraise the sound in these scenes using film sound theory terms. Paying particular attention to the dimensions of the sound track: Time, Space, Fidelity and Rhythm. Evaluate the content, style and intended meaning of the soundtrack and consider the impact of the film’s sound design on subsequent films.

The 3 scenes:
1-( 00:24:10 to 00:31:10).
2-( 01:17:00 to 01:22:30).
3-( 02:53:16 to 03:05:00).

Pick 3 scenes from the 1979, Francis Ford-Coppola film ‘Apocalypse Now’ and critically appraise the sound in these scenes using film sound theory terms
Order Description
Aims and Summary
This module introduces the theory and practice associated with sound in film, television and computer games. It examines the tools and methods utilised in recording and synching dialogue, creating sound effects and musical accompaniment for sound to picture. The theoretical content encompasses Film Sound Theory, the implementation of ADR, Foley, production and post-production sound, audio programming for games and nonlinear audio platforms associated with game engines. The practical content incorporates current industry practice and technologies and engages students both individually and collaboratively in set briefs, the aim being to produce high quality portfolio material and to gain an understanding of commercial practices and aesthetics.
Assessment
There are intended module learning outcomes against which your work will be assessed. On completion of this module you should be able to:
1) understand the significance and uniqueness of sound and music as modes of communication and meaning production;

2) analyse sound and music artefacts/performers as cultural expression;
3) understand the relationship between notions of creativity, artistry and commercial imperatives in the sphere of professional sound and music production;

4) critically evaluate how audiences perceive, understand and produce meaning from sound and music.

Module Resources, Recommended reading and other reference material
Essential Reading
Yewdall, D.L. (2007) The Practical Art of Motion Picture Sound, Oxford. Focal Press
Sonnenschein, D. (2001) Sound Design, The Expressive Power of Music, Voice, and Sound Effects in Cinema. Studio City CA. Michael Wiese Productions.
Weis, E. Belton, J. (1985) Film Sound, Theory And Practice, New York. Columbia University Press
Cook, F.D. (2013) Pro-Tools 101, An introduction to Pro-Tools 11, Boston, MA, Cengage Learning PTR

Recommended Reading
Holman, T. (2010) Sound for Film and Television, Oxford. Focal Press
Viers, R. (2008) The Sound Effects Bible, How to Create and Record Hollywood Style Sound Effects, Studio City, CA. Michael Wise Productions
Rose, J. (2008) Producing Great Sound for Film and Video, Oxford. Focal Press
Brief: assignment 2- Critical Appraisal Film Sound (50%)

Written work: (2000 words) Pick 3 scenes from the 1979, Francis Ford-Coppola film ‘Apocalypse Now’ and critically appraise the sound in these scenes using film sound theory terms. Paying particular attention to the dimensions of the sound track: Time, Space, Fidelity and Rhythm. Evaluate the content, style and intended meaning of the soundtrack and consider the impact of the film’s sound design on subsequent films.

The 3 scenes:
1-( 00:24:10 to 00:31:10).
2-( 01:17:00 to 01:22:30).
3-( 02:53:16 to 03:05:00).