between Fabiano and authoritative figures such as the mayor and sheriff, during the scene where Fabiano is caught trying to sell animal hide to a town citizen. The mayor confronts him alongside the sheriff to enforce tax collection. The shot reverse shot shows their conversation without putting both Fabiano and the Mayor in the same frame. This highlights the separation in power between the two and how powerless Fabiano is in comparison. This creates additional meaning behind the words being spoken. When directed and produced by a master such as Nelson Pereira dos Santos, a message for social change can be delivered in the form of entertainment. Through the use of a clever adaptation to a Brazilian classic, and because it is a film, the message …show more content…
Once the story is adapted into a film, the viewer is required to rely less on his imagination, as opposed to text, where the imagination and life experiences are projected onto the written words. In a film, the viewer takes a ride on the director’s interpretation. For example, in the novel, Barren Lives, the author uses descriptive imagery to have the reader imagine what the barren and dry landscape looks like. Where as in the film, the audience is presented with an accurate and detailed landscape the director chooses to present. One of the reasons that Barren Lives is the preferred choice of the masses is the fact that more of the viewers visual and audio senses are engaged simultaneously. This is especially apparent during the opening scene of the film, Vidas Secas. The film opens with an extreme long shot, where the surrounding landscape seems to envelop the characters. This scene not only shows the desolate landscape that was described in the book, but is paired with an ambient sound of an oxcart wheel that disturbs the audience. The discomfort created by the ambient sound can help the audience relate to the discomfort the characters feel throughout the film. When adaptation is done correctly it can be a beautiful …show more content…
Barren Lives relies on facial expression to convey inner thoughts and feelings, where as, the book relays every thought the characters had. For example, in the beginning shot the younger boy curled up into a ball due to exhaustion. The father said little and began to hit the boy with the butt of his gun in order to get him to continue walking. This scene was drastically different in the book, with the father’s thoughts were written out as opposed to showing the anger in his facial expression. The book gave direct insight into the father’s mind. In the scene the author quoted, “Fabiano felt like killing him. His heart was heavy, and he wanted to blame his misfortune on someone”(Ramos 3). Fabiano’s lack of education and poor vocabulary were not always shown in the story due to omniscient narration in the story conveying his true feelings. The direct quotes from the characters in the book are all simple phrases, but are the accompanied by the narrator’s insight into the characters thoughts. This is drastically different from the movie’s strategy to convey only their words, not their thoughts. The audience is only able to see what the director chooses to show them. The audience is shown what the protagonists in the film see. Instead of using inner dialogue to convey a message, film is also able to establish meaning through mise-en-scene. This is especially apparent
The characters address the audience; the fast movement from scene to scene juxtaposing past and present and prevents us from identifying with particular characters, forcing us to assess their points of view; there are few characters who fail to repel us, as they display truly human complexity and fallibility. That fallibility is usually associated with greed and a ruthless disregard for the needs of others. Emotional needs are rarely acknowledged by those most concerned with taking what they maintain is theirs, and this confusion of feeling and finance contributes to the play's ultimate bleak mood.
In brief, the audience can see how this 1931 sound film could be shaped by sound in a number of ways. Considering that sound at this time was a new phenomenon it is understood why mostly diegetic sound was used over nondiegetic sound. This director also showed the audience how the story could be affected by sound with examples like the clock becoming a character and storyline of its own and also the murderer being identified with his whistling. With the lack of sound and the collage of images during specific times, the director was able to create a mood without music or sound. Apparently this was a technique that was learned throughout his many years of silent films. These details were what brought the story together and would not have been done so precisely without the technique of sound.
use of the camera the sound and the mise en scene. I will analyze the
We can start off with something that we all easily take granted for in movies and that is the imagery. We all have imaginations that can produce an accurate image depending on what we read or see, but something the books or plays couldn’t accomplish is give the image to us. So we wouldn’t have to seco...
Music has become a common language in film in the twentieth century. It has become the lingua franca of films. Scholars working on this topic find it challenging to explore some aspects of film music for several reasons. One main reason is that films (images and sound) are interdisciplinary by nature, posing challenges for the scholars. Despite visuals and auditory means evident in films, scholars do not adequately examine the two means as they work with each other. This could be partly due to the fact that film is largely seen as a visual medium (film music in minor page 8). Music in film is often viewed as subordinate to the visuals. Marlyn Boltz addresses the interaction between the two media and this reveals great potential in this field,
Music can decipher a narrative event by indicating a perspective. To unify a set of diverse images and provide rhythmic and formal continuity and momentum, a film’s structure is more often than not, directly articulated by a musical structure. Music can assist the dialogue and visuals of film and often is inaudible (e.g. music is meant to be heard unconsciously, not consciously). Music has been used by directors to reinforce or strengthen certain weak scenes in film and then on the other hand when music is not needed to reinforce a scene
...successful collaboration of sound, colour, camera positioning and lighting are instrumental in portraying these themes. The techniques used heighten the suspense, drama and mood of each scene and enhance the film in order to convey to the spectator the intended messages.
With breathtaking views of skyscraper stone walls, terrifying creatures that surface at night, and primitive structures in the place known as “the glade,” the film successfully captures Dashner’s words and brings the novel to life. These visually
This film captures this class distinction without subduing the atmosphere through the use of a variety of cinematic devices. “A good film is not a bag of cinematic devices but the embodiment, through devices, of a vision, an underlying theme” (Barnett, 274). The audience can see this theme of the realities of the oppression, poverty and despair of this time period through the use of the things mentioned, but also through the character development that is driven by the character’s hopelessness. Each of the characters associated with the lower class is motivated by the conditions, which are viewed through the cinematic devices mentioned above: color, spherical lenses, long shots, and high angle shots. Sources Cited:.
Formal elements in the film, like the camerawork, lighting and mise-en-scène, and sound greatly contribute to the creditability of the setting, which allows the viewer to enter the story and experience it from the perspective of the characters themselves. I was able to really enjoy the film because of the immersion I felt due to the exceptional use of formal elements of
“Nosferatu the Vampire” depicts the tragic interaction between Jonathan and Lucy Harper with the vampire Dracula. In this film, we follow Jonathan Harper to the castle of Dracula, witness the two’s interactions, follow the pair’s return to Wismar, observe Dracula’s havoc rot on the town, and finally, witness Dracula’s eventual fall, death, and rebirth. In this artful reimagining of the classic vampire story, Werner Herzog employs various cinematic techniques to build up to a dramatic shift in the plot and supporting characters. In this paper, I will explain how Herzog employed music, camera motion, and light, to establish character types and build up to this dramatic shift in the supporting characters. I will then perform a mise-en-sence analysis
Film and literature are two media forms that are so closely related, that we often forget there is a distinction between them. We often just view the movie as an extension of the book because most movies are based on novels or short stories. Because we are accustomed to this sequence of production, first the novel, then the motion picture, we often find ourselves making value judgments about a movie, based upon our feelings on the novel. It is this overlapping of the creative processes that prevents us from seeing movies as distinct and separate art forms from the novels they are based on.
The producer was aiming to create mystery and fear. The dark of the night and the description of the house as feeling dead in the protagonist’s narration sets a suspenseful scene filled with fear and tension. The young girl is followed by the camera as she explores the mansion. When entering the room suspected to be that of her aunts the camera leaves her side to pan around the room. The darkness doesn’t reveal everything but one becomes aware of a search. The revelation of little secrets leaves the viewer with many questions. The room is familiar to the protagonist as she finds items symbolic to her and familiar photographs. This familiarity however does not retract from suspicions that something sinister has been hidden. The producer has successfully captivated the viewer. The protagonist is being followed throughout the scene and has thus allowed for the viewer to bond with them. They are engaging with the audience through narration and have in return enticed the viewer to follow them along their journey. One feels nervous for the young girl however through tension in the scene one does not want them to discontinue the journey as too many questions have been left unanswered. One has been drawn into the world of which the protagonist dwells and is intrigued as to how the drama is
As an audience we are manipulated from the moment a film begins. In this essay I wish to explore how The Conversation’s use of sound design has directly controlled our perceptions and emotional responses as well as how it can change the meaning of the image. I would also like to discover how the soundtrack guides the audience’s attention with the use of diegetic and nondiegetic sounds.
You know when you’re watching a movie and you really connect with it, not just with the characters but you really just get the film? Ever wonder what it is that made you fall in love with a film even if the dialogue or cinematography isn’t everything you hoped for? It’s the sound design! Not to discredit any part of the film, The Pursuit of Happyness, because it is a beautiful film, but the sound design is what truly makes this film so great. It fills all the voids that are sometimes experienced in films. It does this by capitalizing on what the untrained ear calls noise. Another way the sound designers of this film really grab the attention of the audience is by creating a fluid way to make you listen to the sounds simultaneously with the images on the screen. In addition, the realistic sounds in conjunction with synthetic sounds complete the film by providing seamless cuts between scenes. The amalgamations of these three aspects are what make the sound design of The Pursuit of Happyness a truly vital part of the film.