The genius in not the music used in "2001: A Space Odyssey", but what Kubrick does with that music. He reduces each musical score to its essence, and leaves it playing long enough for us to contemplate it, to listen and watch as the movie progresses, which is mostly silent; this technique helps it inhabit it in our imaginations. Among science-fiction movies, perhaps “2001" is the only movie in which the director, in this case Kubrick, is not concerned with thrilling us with his music choice, but with inspiring our awe when listening to and watching the movie. The first time I saw the movie, I was 18 and in high school. I couldn't even begin to grasp what was going on in the film, let alone be critical of its music. I couldn’t watch the movie the first time, but I knew I had to watch it again. I had to come back to this movie when I was a bit older, perhaps a bit wiser; and so I did. I have now seen this movie three times in its entirety, the last being quite recently for this class. This time around I was a bit more critical, especially about the music, and why I was in such awe about everything that Kubrick did in this movie, about why I was left with the distinct impression that what I'd just watched and heard was the most important film ever made, sorry “Citizen Kane”. Just like classical music, the film falls into several movements. In the first, prehistoric apes, the second is the docking sequence, with its waltz, the third being the sequence on the moon, where man is confronted by the monolith again, and the last being the birth of the star child. The deliberate use of “Blue Danube”, “Sprach Zarathustra”, and “Atmospheres” specifically stand out and act in collaboration with the visuals. Both complementing and enhancing e... ... middle of paper ... ...l representation. This same approach can be seen with the music, which draws on our uneasiness with dead noise throughout the movie. The film creates its effects essentially out of visuals and music and lack thereof. This film is not for everyone, but if you're the type who spends casual time pondering humankind's destiny, this is a must see. In the end, this film, and its music, is inspiring, meditative, and an almost a spiritual experience. After watching it nearly ten years later, it has still not dated; and I hope it never does. Works Cited 1. http://en.wikipedia.org/wiki/2001:_A_Space_Odyssey_%28film%29 2. http://en.wikipedia.org/wiki/Thus_Spoke_Zarathustra 3. http://en.wikipedia.org/wiki/The_Blue_Danube 4. http://en.wikipedia.org/wiki/Atmosph%C3%A8res 5. http://undergroundresearchinitiative.blogspot.com/2013/07/2001-space-odyssey-evoking-theme-by.html
music to analyse—in fact, the music runs almost constantly throughout the film without very little
...vision and music. Therefore the movie begins on a simple level. The viewer is introduced to many of the central elements of the film in a purely visual way – Donnie, his family, and the American suburbs. The music makes this an isolated and surreal presentation; the viewer sees the family from the outside before seeing them from the inside. The song also has a feeling of apprehension and of magnitude which makes what is seen seem more significant and mysterious.
A film concerning a futuristic universe, Pitch Black, directed by David Twohy, was scored using an arsenal of techniques that imbued a futurist connotation. The composer Graeme Revell used a wide variety of electronic tactics that screamed modern use of MIDI, as in the use of electronic drums and percussions. Much of the underscoring is as dissonant and eerie as the film itself. The only score that might have fit Pitch Black better would have been no score at all, for Revell seems to conjure silence through low, menacing sounds. Although the task seems as a paradox, Graeme succeeded in using the score to serve the five functions of music very well. The only aspect that seemed to be both a weakness and strength at the same time was the electronic sounds used. Often, it is hard to distinguish between sound effect and instrument; while this can be frustrating to a listening ear, the idea is also a strength, since the feeling of restlessness conveyed keeps a feeling of tension and anticipation.
In the beginning of the film, the music is very fast tempo and using string music instrument to make the situation tenser and the faster temp and lower voice increase and build up the climax situation. This strategy leads the viewer to feel a sense of seriousness and guilt. In the end of the film, the music called “Before My Time” composed by J. Ralph, this music become much slower than before, and it fit into the images of picturesque environment and appeals to the viewer’s emotion such as sadness and sorrow. Moreover, the song lyrics are pathetically touching, it says “If should run ten thousand mile home Would you be there?.” This is because the viewer may feel regretful that people are a main factor to the climate change and did not take responsibility to protect the beautiful environment. This strategies may enhance to appeal the pathos and build a credibility of this whole
... though. Specifically, he makes me dread the scenes that showcase his creations of strife and pain. If Kubrick intended me to raise my blood pressure during the first space-monolith scene, then his use of Ligeti did the trick. Maybe that's exactly what he intended. Maybe he was trying to communicate the anguish that is inherent to the change embodied by the monolith or the incomprehensibility that overwhelms our imaginations if we think too hard about the infinite stretch of space. Or, maybe he just wanted something that made those particular scenes stick out and appear ripe for interpretation in any of numerous ways. Either way, regardless of the intelligence at work in the non-Strauss scoring, I still viscerally liked the Strauss and not much else musically. That's ok, though, because the Blue Danube and the introduction to Thus Spoke Zarathustra are just that good.
The music in the movie is well done. It fits into the story and enhances it without being distracting. Magnus Beite crafts dramatic and interesting scores that seem to be sung by the beautiful backdrop of mountains themselves. The music is appropriately intense in chase and fight scenes, while still being calming and serene in nature
Also, even those music that are performed by the orchestra, it is more in atonal and really has very little harmonic and melodic effects. By creating music like this, it somehow creates the mystery feelings and that fits the whole concept since finding the Ark is a very mystery journey and everything is unpredictable and I think the music really captures
Stanley Kubrick is one of the most influential and daring filmmakers to ever put his mark on the silver screen. He has created a large body of very influential works spanning several decades and many genres. Throughout his whole collection there are many elements which are repeatedly used to enhance the viewer's experience. There are also many recurring themes in Kubrick's works that are commented on both by the context in which they are brought forth and the techniques used to expound upon those themes.
Overall, the score was beautiful and appropriate, adding suspense and mystery at all the right times. The sound effects added psychological flavor to the story without drawing too much attention to it.
This film to start off with has beautiful cinematography. I really enjoy the opening scene of the movie where the scenes are laid out and in super slow motion. The cinematography in these opening scenes is what caused me to keep watching the film as long as I did. I sometimes did not understand the reason for this during the movie, but most of the scenes that appeared in the beginning of the film appeared sporadically throughout the film. The soundtrack in the beginning of the movie really depressed you during the opening slow motion scenes. Throughout the whole movie, anytime there was a downfall or a moment to worry that song would come on and play. Eventually that song lost its power to me because it was so frequent that it was used. The sound was awesome in my opinion, not only soundtrack wise, but also just the regular everyday sounds. It made it feel like you w...
The very first time we hear the chilling music is at 3:36 while a man is setting up a tape recorder and plays it. During this, low-key side lighting is used to illuminate the actions being done on a black table. In order to enhance the creepiness of the soundtrack, the director only allows the audience to see what he wants them to. In this case, a close up of a man’s hand and a tape recorder are allowed. By combining the black surface, low-key lighting, and a hand but not a face the director created the mysterious, creepy atmosphere of the eerie music for the rest of the movie. The presentation of the music alongside the patterns evoke cognitive play for the audience because they want to know who is behind the recorder. It is ass...
The highly acclaimed Citizen Kane creates drama and suspense to the viewer. Orson Welles designed this film to enhance the viewer’s opinion about light and darkness, staging, proxemics, personal theme development, and materialism. Creating one of the most astounding films to the cinematography world, Welles conveys many stylistic features as well as fundamentals of cinematography. It is an amazing film and will have an everlasting impact on the world of film.
Luhrmann’s creative sense of putting the song Young and Beautiful is what made the film wonderful to watch because of the way it sound and the flow that it had through the film, but many people might disagree with the way he did it and of using the same artist and song through each scene.
This work compares to Michael Jackson’s Thriller because in both videos they are both a little “out there” and “scary”. Both wear odd costumes and are choreographed to percussive music. They both begin with a bassoon playing by itself at a very high pitch. It is amazing to me that these two works happened about 70 years apart, yet they have so many of the same characteristics. Both also have become such influential musical works for so many different composers. They both are incredible musical
Music follows us everywhere we go. It’s a big part of our lives and it is now significantly used in films. Before the 1930’s, films have started out completely silent. But after that period of time music began to infuse in the world of films and it played a big role in it. According to Fischoff, a media psychologist and a professor in music studies on films explains how we do not just experience films visually, but we actually experience the film through our ears. Music plays upon the audience feelings and it communicates the scenes to them, it makes us feel the events and the atmosphere that is happening in the film. Fischoff says that people remember memorable films from their break out hit, he gives an example of the song “My