In film and TV this may be used interchangeably with ‘soundscape’, but in audio work it usually refers to music played low in the mix in order to create mood or atmosphere.

A collection of background sounds which reinforce the realism of a scene – these may be augmented in post-production with, for example, library sound effects, such as crowd murmur. This might also be described as ‘atmosphere’.

A recording of the sound at the location of a shoot – may be used as part of the soundscape to provide depth and atmosphere.

A recurring beat forming a pattern. Rhythms may be rapid or slow, regular or irregular, producing different emotional effects in the viewer/listener.

The frequency of a sound. High pitched dissonant strings will magnify the effect of aggression (as in Psycho, for example). Low pitches may sound ominous.

The opposite of harmony: simultaneous or consecutive musical notes which (according to convention) sound harsh or unpleasant. In film and TV dissonant music is likely to suggest that something is wrong, or about to go wrong in the world.

A term which refers to simultaneous or consecutive musical notes which (according to convention) sound pleasant. In film and TV harmonious music may suggest that all is well in the world.

Sound effects produced to enhance the realism of actions in the scene, for example, footsteps, the clink of ice in a glass, the sound of a kiss. Foley effects are always produced in post-production and are always diegetic.

Sound which does not have its source within the world of the film, for example, mood music, voice-over addressed to the audience.

Sound which has its source in the scene, or ‘world of the film’ (even if it is applied in post-production). A test for diegetic sound is: would the characters be able to hear this?

The coming together of media technologies so that the boundaries blur. Usually this refers to technologies of distribution and reception (e.g. TV and the internet).

A term of classification which groups media texts of a particular kind together – usually particular kinds of film or TV narrative, but styles, stars and production companies may all be used to make generic distinctions between texts

Within a text, visual or audio references are made to other texts. It is expected that audiences will recognise such references, although more obscure references will require different repertoires of experience in the audience

Icons are particular signs that are powerfully associated with something else, such as religious icons. By extension, in media, icons are signs we associate with particular genres (e.g. technology for sci-fi, saloon doors for westerns).

The capacity to extend the life of characters, settings or trademarks by producing further products, usually in popular genres such as super-hero or action.

The visual information in a scene or shot, such as, setting, lighting, colour, shape, costume, make-up, expression, movement, symmetry. Mise-en-scène tends to refer to the content of a shot, but this will be inflected by the shot-type.

The processes (and end results) by which reality is subject to selection, exaggeration and repetition, so that certain representations (often of subordinated groups and associated places) become typical and taken for granted. Also used, more neutrally, to refer to aesthetic representation.

The process through which a series of media products derived from the same text is promoted in and through each other.

A term which has arisen to account for the various convergent combinations of old and new media, for example, Amazon, Netflix and iPlayer are internet platforms for distributing and exhibiting TV and film. A platform is a technological space in which media can be consumed.