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The magic of film music essay
The magic of film music essay
The magic of film music essay
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Both in the ‘Serial’ podcast by Sarah Koenig and the ‘Making a murderer’ docudrama directed by Laura Ricchardi, use music to cause doubt in the audience’s mind whether to position the person on trial as innocent. Similarly, where Koenig uses music to support ideas and cause doubt in the audience, Ricchardi uses music in accompany with videos and re-enactments so the audience can infer whether Steven is innocent or guilty. Koenig structures the music in her podcast and uses it to appeal to the audience in a way so the audience can infer whether Adnan is innocent or guilty. Koenig uses music to transfer from the interview with Adnan to her narration. This is done because Koenig has found the important information of Adnan’s whereabouts at the time of the murder and positions the audience to view him as innocent. …show more content…
But when the music stops new information revealed from Jay shows cell phone records between Adnan during this time, suggesting something doesn’t add up and causes doubt whether Adnan is innocent.
Similarly, Ricchadi uses music to influence the decision of audience and causes doubt on Stevens innocent. Throughout the docudrama whenever the Avery family is mentioned, the music would change to dull and suspicious music to infer that they bad people. The same suspicious music used to talk about the Avery’s is also added during the re-enactment of when the suspect was abused on the beach. Playing the same music is hardly a coincidence but rather a technique to suggest to the audience that Steven committed this crime. Through the implication of music, it causes doubt in the audience’s mind whether Adnan and Steven are
innocent.
It is important to acknowledge the commonalities that appear in each show. The ultimate purpose of both Law and Order and The Wire is to demonstrate urban crime and the investigation that goes into solving the various crimes. In the episodes the main crime was murder, though murder is often not the only crime presented for investigation. Without crime and investigation, these two shows would not have any foundation. Each show aims at similar styles. They present a basic style of a crime show by incorporating court scenes and music. The goal of the the court scene being to illustrate the reality of the show. Court scenes in both shows are interactive to eventually lead to either a conviction or a not guilty charge. Each show then displays an importance to the use of music. The most significant music is heard at the very beginning of the episode and at the conclusion of the episode. Each musical piece is picked to add to the interpretation that the writer wants the audience to leave the episode with.
As I was completing this assignment, I was watching the infamous Netflix documentary entitled Making a Murderer. The documentary follows the story of Steven Avery, who is currently in prison for the death of a woman, Teresa Halbach, in 2005. Steven Avery has been denying any involvement in the murder of Teresa Halbach for the past eleven years. In the middle of the reading, the documentary was exploring and analyzing Steven Avery’s deviant behavior as a young man (Making). As I observed what was being discussed about Steven Avery, I was able to build the connection between how society, and the community from which he came from, perceived Steven Avery and what Kai Erikson discussed in the first couple pages of the book with regards to deviance and its relation with regards to society.
The structure, the order parts of the documentary are presented determine how prisoners are constructed by the viewer. In Music and Murder Vernon, Geoffrey and Daniel are all constructed in the same way and overall the documentary works to construct the prisoners as people deserving of the viewers trust. In the beginning of the documentary the prison is described and shown as concrete and metal and there are close-ups of the metal bars, locks and razor-wire. This use of montage re-establishes the viewers previous idea of prison as punishment. After this the music is introduced by the respected teachers as not leisure but a constructive way to use their time in prison, having the punishment aspect of prison introduced before the music gives the viewer a positive on the idea as music as rehabilitation and not just as leisure.
The article “Rap Lyrics on Trial” written by Erik Nielson and Charis E. Kubrin was about Vonte Skinner, a man who was convicted for attempted murder for 30 years based on the evidence of rap lyrics written before the crime. The court case didn’t have sufficient evidence to convict Skinner because the witness changed their stories many times to be considered consistent, but the jury felt convinced Skinner was guilty when they heard Skinner’s lyrics: “In the hood, I am a threat / It’s written on my arm and signed in blood on my Tech” and “I’m in love with you, death”. Neilson and Kubrin argued whether rap lyrics should be presented as a piece of evidence after Skinner’s conviction is overturned. They claimed that when rap lyrics are
In the article, Heffernan uses the testimonial device to support her thesis. “As Llewellyn Hinkes-Jones put it not long ago in The Atlantic: “The shared experience of listening with others is not unlike the cultural rituals of communal eating. Music may not have the primal necessity of food, but it is
Steven Mostyn obtains the readers attention by tittling the essay "Headphones Can Kill." In other words, in our minds we think of wild animals, or even accidents that end up killing people, but headphones? That's something everyone uses everyday and never notices that it could've been a killing machine; thus, convinicing the reader to analyze the essay. At first Steven introduces the essay by making the reader curious and wanting to find out more by stating this, "it may come as a shock to learn that headphones can apparently endanger our lives." In simpler terms, Steven grabs the readers attention by making the title sound like the headphones directly killed the person, but as the readers continuse it is slowly revealed that the person is
Cohen’s goal is to introduce music in to their lives in hopes of regaining their lost personality and self-identity. With the use of iPods and a playlist of the participant’s favorite music. The film introduces varies professionals such as Dr. Oliver
Music has the power to affect people in great ways. It can heal broken hearts, provide and escape from reality, and speak where words cannot. Both The Metamorphosis and “Sonny’s Blues” uses music to help the main character in life. In these pieces of work, music connects both Gregor and Sonny back to humanity and open windows that were previously closed.
Next, we hear Norman’s voice as he yells “mother, oh god, mother, blood, blood”; his voice, is a very distant, reverbed, non-diegetic wet sound. Afterwards, we hear the soundtrack, which is non-diegetic, playing simultaneously along Norman’s figure in frame. The reason behind it, is a way to demonstrate that he is, indeed, the killer, hence why the same track takes part when the killer commits the crime as well as when Norman approaches the room.
Enhancing the sustained fright of this film are an excellent cast, from which the director coaxes extraordinary performances, and Bernard Herrmann's chilling score. Especially effective is the composer's so-called "murder music," high-pitched screeching sounds that flash across the viewer's consciousness as quickly as the killer's deadly knife. Bernard Herrmann achieved this effect by having a group of violinists frantically saw the same notes over and over again.
...ifferent visual concepts and musical composers, recently Phillip Glass. There is one thing for certain, music still becomes a primary component of her work. Take for example the words of Paola Ferreiro speaking about Neshat's recent work Zarin (2005), “There is practically no dialogue in the video. With the omission of voice, dramatic acting and soundtrack become the communication devices for the narrative. The lack of dialogue gives the viewer interpretative freedom, especially if they are ignorant of the original inspirational text.” (Ferrairo) I will undoubtedly keep Turbulent, Rapture, and Soliloquy close to my heart, as they are her most powerful works of art due to the fact that the sounds drive the entire emotional interpretation of the pieces. However, it is just as intriguing analyzing how Shirin Neshat
The book is divided into four chapters: 1) Humanly Organized Sound, 2) Music in Society and Culture, 3) Culture and Society in Music, and 4) Soundly Organized Humanity. In chapter one, Blacking discusses the analysis of sound. He begins by describing music as humanly organized sound. His overarching theme is that “the function of tones in relation to each other cannot be explained adequately as part of a closed system” (30). In other words, music can’t be analyzed simply by one set of rules. This is because every single culture has a different system that they use to structure and compose their music. In order to adequately analyze a society’s music we have to study their “system.” We must learn what music means to them. Then, and only then, can we accurately and completely analyze what a particular type or piece of music means to a particular society and culture.
“We can all say we’re never going to commit a crime, but that doesn’t mean you won’t be accused.” The trailer of Netflix’s series, Making a Murderer, begins with this statement. Before viewers have even begun watching the series, this quote prods them to go down a scary thought path. Where would you find the strength to stay hopeful while in jail? How would you prove your innocence? Would you succumb to the pressure of pleading guilty for the chance of early parole? The first seven seconds of the trailer captures the viewers’ attention, and from there they are hooked. Netflix creates the infamous good vs. evil scenario in this series. Steven Avery and his family are portrayed as the poor and innocent citizens, while the investigators and prosecutors
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
Sound is an extremely important element to a film. Music, the sound chosen in this scene, is categorized as non-diegetic, which means that the music is not in the story world. The directors use deep, dramatic, intense music when Nick is interrogating Judy about her speech. The music in the scene helps the audience feel the anxiousness that Judy is feeling towards predators, particularly Nick. As the music plays in the background, the intensity of the scene grows immensely. The directors use the music to help heighten the emotion during this encounter and reveal Judy’s inner fear of predators that gets the best of her in this