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Collocations are natural word combinations that enhance fluency in language learning, such as 'make a decision' instead of 'do a decision.' The document also discusses diegesis in literature and film, explaining different levels of narrative (extradiegetic, diegetic, and metadiegetic) and their significance in storytelling. Additionally, it covers the role of diegetic and non-diegetic sounds in film and music theatre, illustrating how they contribute to the audience's experience.
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Ȣ COLLOCATIONSS
'§ What Are Collocations
* Collocations are natural word combinations
that sound ‘right! to native speakers. They
help learners produce language that sounds
fluent and natural
~ For example, we say 'make a decision not
‘do a decision’ because ‘make’ naturally
collocates with ‘decision’.
‘§ What Are Collocations
WORD + WORD = Collocations
* Example: I missed the bus’, ‘A heavy
smoker!
We say ‘heavy rain’, not ‘strong rain’
‘Natural vs. Unnatural English ¢
‘© Some combinations sound natural and
unnatural
Examples:
* Cortect: heavy rain, high temperature,
discharged from hospital, have an
experience
* Incorrect: thick rain, tall temperature,
released from hospital, dofmake an
experience
Fast or Quick? “)
© Correct: fast train, fast food, quick shower,
quick meal
* Incorrect: quick train, quick food, fast
shower, fast meal
@note:
‘Fast! and ‘quick’ are synonyms but
not always interchangeable.Some
collocations are fixed expressions,
and changing one word can make the
phrase sound aukward of incorrect.
{Wbo These Go Together? #
© Correct: strong coffee, tall tree, heavy rain,
rich taste
* Incorrect: powerful coffee, high tree,
weighty rain, deep taste
* English has preferred word poirings that
form collocations. Using incorrect poirings
like ‘deep taste’ instead of 'rich taste’
makes the sentence sound odd or even
confusing.
‘Shy Learn Collocations?™
Make your language more natural
Easier to be understood
Helps with memory
Adds richness to vocabulary
* Collocations improve your fluency by
allowing you to speak in chunks. it's more
efficient to remember 'make a mistake' than
to construct it from scratch each time.
How to Learn Collocations
* Be aware and recognize them
‘Treat them as one block
* Note collocations when learning new words
* Read and revise regularly
* Practice in context
“P Effective collocation learning includes
exposure to natural English, repetition, and
usage. Reading widely helps you internalize
these word pairings
1. Adverb + Adjective
highly controversial
deeply offended
bitterly disappointed
Example: ‘Utterly stupid thing to do"
2. Adjective + Noun
excruciating pain
regular exercise
maiden voyage
bright color
3. Noun + Noun
surge of anger
round of applause
bars of soap
eg,, teapot, post office's roar
© snow falls
‘© bomb goes off
take a bath
make an effort
commit @ crime
crack a joke
© burst into tears:
‘© runout of money
© drive someone to crime
© wave frantically
‘© whisper softly
‘© smile proudlyDIEGESIS IN LITERATURE *
© For narratologists, all parts of narratives-
characters, narrators, existents, actors-are
characterized in terms of diegesis.
* For definitions of diegesis, one should
consult Aristotle's Poetics; Gerard Genette's
Narrative Discourse: An Essay in Method
(Cornell University Press, 1980); or (for a
readable introduction) H. Porter Abbott's
‘The Cambridge Introduction to Narrative
(Cambridge University Press 2002). In
literature, discussions of diegesis tend to
concern discourse/sjuzet (vs. story/fabula).
%3 Diegetic Levels.
1. The extradiegetic level (the level of the
narrative's telling) is, according to Prince,
"external to (not part of) any diegesis.
2. The diegetic level is understood as the level,
of the characters, their thoughts and
actions.
3. The metadiegetic level or hypodiegetic level
is that part of a diegesis that is embedded
in another one and is often understood as a
story within a story, as when a diegetic
narrator himselffherself tells a story.
GExtradiegetic Levee
‘© refers to anything that exists outside the
story world something the characters
cannot see, hear; or experience, but the
audience can,
Basic Breakdown:
* Diegetic = inside the story world (what
characters seeJhear)
© Extro-diegetic = Outside the story world
(only for the audience)
©The extra-diegetic level adds information,
‘mood, or commentary just for the viewer,
shaping how we understand or feel about
the diegetic (story) world,
‘@ Examples of extradiegetic level +
1. Narration/Voice-over
* fa narrator speaks over the film but the
characters can't hear it, that's extra-
diegetic.
© Example: In The Shawshank Redemption,
Red's voice narrates, but he's not speaking
to anyone in the story.
‘@ 2. Background Music
* dramatic music plays during a scene to
create emotion, but n haracter hears it,
that's extra-diegetic
& 3. Text on Screen
* Titles, subtitles, or date/time stamps that
inform the audience.
© Example. "10 years later" text on screen
ODiegetic level
* refers to everything that exists inside the
story world-—anything the characters can
see, hear, touch, or experience
@ Basic Breakdown:
‘© Diegetic = Part of the story world (real for
the characters)
* It includes sounds, objects, people, places,
‘and events that the characters are aware of.
Understanding the diegetic level helps
us separate what the characters know
From what only the audience knows,
which is useful in film, literature,
and games.
MsExamples of diegetic level @
#1. Characters talking to each other
‘* Their dialogue is part of the story world.
‘Example: A conversation between Harry
‘and Hermione in Harry Potter.
® 2. Music from a radio or band in a scene
If the characters can hear it too, it's
diegetic.
‘© Example: A character turns on a car radio,
‘and both they and the audience hear the
music.
3. Actions and events
Anything that happens in the plot that
characters’ witness.‘© Example: A fight scene, a wedding, a car
crash.
@reta-diegetic level *
* also called as hypo-diegetic
+ refers to. story within a story—a secondary
narrative that a character inside the main
story tells, imagines, or dreams.
WBasic Breakdown:
*® Diegetic = Main story world (what the
characters experience).
© Metadiegetic/Hypo-diegetic = A sub-story
within that main story, often told by a
character,
© The metadiegetic level helps storytellers
‘add depth, show character thoughts or
pasts, or create creative narrative layers.
Examples of metadiegetic level.
A Character Telling @ Story or Flashback
© When a character starts telling a past
event, and we see it play out.
* Example: In The Princess Bride, the
grandfather reads a fantasy story to his
grandson. The fantasy tale is metadiegetic.
2. A Dream or Hallucination
© Ifa character dreams and we see the
dream, that’s a hypo-diegetic level.
© Example: In Inception, the dreams within
dreams are hypo-diegetic layers.
3. A Movie Within a Movi
+ If characters are watching a movie and we see
that movie, it's a metadiegetic level.
BDIEGESTS IN FILM©
+ Diegesis is « Greek word which means
narration or narrative
+ Diegesis in film comes from the idea that,
there are certain elements.
‘# Diegesis isa style of story telling which
presents an interior view of world and that
the world is experience by characters in
situations and events of the narrative.
‘+ Examples would be telling, recounting and
enacting. Such as fictional time, place,
characters, and events which make up the
Universe or fictional world in which the story
is set.
ELEMENTS OF DIEGESIS IN FILM.
1. DIEGETIC@®
* Asound that originates from within the
video or film's world, It can come either from
on-screen or off-screen but it always
hoppens at the same time that the action
takes ploce.
Examples of diegetic sound
* Character Dialogue
© Object Sounds
‘* Music emanating from within in the film,
NON- DIEGETIC (ig)
‘+ Sometimes called commentary or non-literal
sound, non-diegetic sound is any type of
sound that does not specifically exist within
the world of the film itself. In other words,
it's the type of sound that characters in a
film are not able to hear, but that we can.
Also the non-diegetic sound is added by
sound editors in post-production.
‘+ Examples of Non Diegetic Sound
© The films musical score
© Sound effects
© Narration or voice over
TRANS-DIEGETIC SOUND &
‘* When diegetic and non-diegetic sound are
combined, it's called trans-diegetic. Trans-
diegetic sound refers to any sound that
‘moves in between non-diegetic and
Giegetic, or vice versa. Trans-diegetic sound
helps bridge or link two things, like
transitions between scenes.
EXAMPLE OF TRANS-DIEGETIC SOUND
1. Acharacter hums a tune (diegetic sound) and
that humming sound turns into an orchestral
version of the same tune (non-diegetic sound),
which carries over into the next scene.
2, Music plays over the opening credits of a film
(non-diegetic sound), but once the title sequence
ends, that same music becomes a song heard on
someone's radio in the opening scene (diegetic
sound). This example links the credit sequence
with the opening scene to ease the audience into.
the movie-going experience.DIEGESIS IN MUSIC THEATRE.
Diegetic and Non -Diegetic Sound
Music emanating from within in the film helps the
audience become absorbed in a scene.
Source Music, also known as diegetic music, is
‘truth in television.
‘As with film, the term ‘diegetic' refers to the
function of the music within a work's theatrical
narrative, with particular relevance to the role of
song
Within the typical format of operajoperetta,
characters are not ‘aware’ that they are singing.
This is a non-diegetic use of song.
If however the song is presented as a musical
occurrence within the plot, then the number may.
be described as ‘diegetic.
Examples:
‘The Sound of Music
Do-Re-Mi
Onstage Pesfrmed Music Vienalld Music
mind backend usc ditsten——_inerncton
est souloeape tater er
Diegesis in Role-Playing Games
* Inrole-playing games diegesis includes all
the “in-game” parts of the story, both those
that are and aren't actually played out.
How Diegesis exists in game?
‘The Legend of Zelda: A Link to the Past below.
What parts of the screen do you think are
diegetic?
Zo what's non-diegetic? & .
© The term "meta-concept" is also used for
some non-diegetic elements.
GMeta-concept
* For reasonable deduction or
conceptualization, a presumptive idea is,
necessary,