FIX PICTURES IN FORMATTING AND POSITION
The role of music in film is vast, covering the use of film scoring to elicit certain responses from the readers, to intensify a scene and, in some cases, illiciting meaning with the subtle use of background music, much as an author uses symbols and metaphors to imply without explicitly saying. Music can also act as a way to establish a certain time period, adding a sense of authenticity to a picture. Erika Eigen’s ‘I want to Marry a Lighthouse Keeper’ in A Clockwork Orange emulates the sound of commerically popular music of the 1970’s, and although only released for the film and therefore having no emotional bearing on the audience as a culturally relatable piece, transports the film to the then present
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This is typical of the Western film, and an example of this can be found in the scene shown in Figure 3. A dramatic change in music dramatises the scene, encouraging the reader to engage with the characters on screen in accordance to the sounds associated with them. Traditionally in the western, the ‘good’ American characters; the coyboys, sheriffs, are shown with a chorus that spans around 110-120 beats per minute. This more upbeat melody is then often counterposied immediately after with a shot of the ‘bad’ characters, in which the refrain will drop to a substantially slower tempo of around 80-90 beats per minute, creating a far more menacing and less traditionally happy and comforting sound. Frayne argues that Ford’s westerns “present the standard racist view of the American West. Except for his late Cheyenne Autumn, the Indian is the enemy, whether the noble warrior or drunken savage.” (1975) The characters in the stagecoach are not necessarily moral figures, each an individual that could be seen as being on the edge of acceptable society, yet it is these characters who are deemed as worthy of an emotional connection from the audience, as it is …show more content…
This is rousing music in the same manner as the score of Stagecoach elicits a response with its use of sound to encourage empathy and dislike of the character, but Kubrick acheives a sense of both at the same time. Most o the “ultra-violence” scenes are set to the score of pieces by Beethoven, Mozrt and Schubert. It could to some extent e argued that “Kubrick frames his movie by the Ninth Symphony, especially considering that we first hear the theme of Joy early in the movie after Alex’s gane reappears in the Korona bar after a night of random violent acts.” (Hoyng, 2011) The films closing scene sees Alex revert back to his old behavior, with graphic visions accompanied by the Ninth Symphony, thus in this sense this could be consdidered as a farming of the film, however the Ninth Symphony serves a particularly ambigious role within the film in that it serves as a backdrop to graciosuly coreographed violence yet itself is a inherintly vicious and morally ambigious piece. Musicologist Susan McClary
In the first introduction of music, Alex describes how his parents have learned to “not knock on the wall with complaints… I had taught them. Now they would take sleep-pills” (33) when he plays music loudly, showing the control Alex has manifested over his own parents with music. Alex also plays the Ninth by Ludwin van while raping two girls, as they were forced to “submit to the strange and weird desires of Alexander the Large with, what with the Ninth, were… very demanding” (46). By inevitably connecting classical music to violence, Burgess shows that there is little distinction in importance between the two for Alex, and the two become physically linked after the government’s brainwashing. This suggests that you cannot take Alex’s flaws without simultaneously taking those same elements that make him human. The focus on classical music as a pivot of Alex’s humanity accentuates the sympathy felt for Alex as he is being brainwashed, as the previous poetic love for classical music is replaced with “pain and sickness” as Alex had “forgotten what he shouldn’t have forgotten” (139). Without attempting to condone Alex’s actions, Burgess stresses the notion that humanity is not meant to be erased or forcibly removed, even if it means having to come to terms with the flaws that every person
"Relocating the Cowboy: American Privilege in "All the Pretty Horses"" Pepperdine University: Global Tides Seaver Journal of Arts and Sciences. Maia Y. Rodriguez, 2014. Web. 2 May 2016. . The Western typically illustrates the journey of a man, usually a horse riding cowboy, into the Western frontier where he must conquer nature "in the name of civilization or [confiscate] the territorial rights of the original inhabitants... Native Americans" (Newman 150). What this brand of mythology promotes is precisely the values of American culture: rugged individualism, achievement and success, activtity and work, democracy and enterprise, and--most importantly--
My analysis begins, as it will end, where most cowboy movies begin and end, with the landscape.Western heroes are essentially synedoches for that landscape, and are identifiable by three primary traits: first, they represent one side of an opposition between the supposed purity of the frontier and the degeneracy of the city, and so are separated even alienated from civilization; second, they insist on conducting themselves according to a personal code, to which they stubbornly cling despite all opposition or hardship to themselves or others; and third, they seek to shape their psyches and even their bodies in imitation of the leanness, sparseness, hardness, infinite calm and merciless majesty of the western landscape in which their narratives unfold.All of these three traits are present in the figures of Rob Roy and William Wallace--especially their insistence on conducting themselves according to a purely personal definition of honor--which would seem to suggest that the films built around them and their exploits could be read as transplanted westerns.However, the transplantation is the problem for, while the protagonists of these films want to be figures from a classic western, the landscape with which they are surrounded is so demonstrably not western that it forces their narratives into shapes which in fact resist and finally contradict key heroic tropes of the classic western.
John Ford’s classic American Western film, Stagecoach (1939) shows many examples of political life and social behavior during it’s time. The plot is about nine travelers onboard a stagecoach from Tonto, Arizona to Lordsburg, New Mexico Territory. In the beginning, the passengers of the Stagecoach are unfamiliar with each other. However, their relationships grow as they get to know each other during their journey. Each character claims a different social position.
In the film Stagecoach, the group of individual of differing social standings and classes convene as group of passenger in their journey, attempting to avoid Apache warriors. While each passenger had their own motivations for their journey – some with honorable circumstances such as finding their spouse, and others with less honorable circumstances, such as being forced out of town due to alcoholism or prostitution. Regardless of their backgrounds and context and their motivations, this group of passengers, through the relentless challenges they faced throughout their journey from Tonto to Lordsburg. Although they were coerced to work together under the threat of death from Apache warriors, the team that the passengers formed in Stagecoach
The film elects to use a soundtrack comprised of only popular music from the 1970s. Frith writes, “The sociologist of contemporary popular music is faced with a body of songs, records, stars and styles which exists because of a series of decisions, made by both producers and consumers, about what is a successful sound” (Frith, 134). I reference this quote because it is important to note that this film was released in 1993. The people who are responsible for choosing the soundtrack have the luxury of knowing what music is able to ...
Although the work is 40 years old, “Custer Died for Your Sins” is still relevant and valuable in explaining the history and problems that Indians face in the United States. Deloria’s book reveals the White view of Indians as false compared to the reality of how Indians are in real life. The forceful intrusion of the U.S. Government and Christian missionaries have had the most oppressing and damaging affect on Indians. There is hope in Delorias words though. He believes that as more tribes become more politically active and capable, they will be able to become more economically independent for future generations. He feels much hope in the 1960’s generation of college age Indians returning to take ownership of their tribes problems and build a better future for their children.
Although the work is 40 years old, “Custer Died for Your Sins” is still relevant and valuable in explaining the history and problems that Indians face in the United States. Deloria book reveals the Whites view of Indians as false compared to the reality of how Indians are in real life. The forceful intrusion of the U.S. Government and Christian missionaries have had the most oppressing and damaging effect on Indians. There is hope in Delorias words though. He believes that as more tribes become more politically active and capable, they will be able to become more economically independent for future generations. He feels much hope in the 1960’s generation of college age Indians returning to take ownership of their tribes problems.
The movie starts by showing the Indians as “bad” when Johnson finds a note of another mountain man who has “savagely” been killed by the Indians. This view changes as the movie points out tribes instead of Indians as just one group. Some of the tribes are shown dangerous and not to be messed with while others are friendly, still each tribe treats Johnson as “outsider.” Indians are not portrayed as greater than “...
In a film where music is needed to denote the messages the film is dictating, there is obviously a lot
The development of the Western genre originally had its beginnings in biographies of frontiersmen and novels written about the western frontier in the late 1800’s based on myth and Manifest Destiny. When the film industry decided to turn its lenses onto the cowboy in 1903 with The Great Train Robbery there was a plethora of literature on the subject both in non-fiction and fiction. The Western also found roots in the ‘Wild West’ stage productions and rodeos of the time. Within the early areas of American literature and stage productions the legend and fear of the west being a savage untamed wilderness was set in the minds of the American people. The productions and rodeos added action and frivolity to the Western film genre.
All in all, the treatment of the American Indian during the expansion westward was cruel and harsh. Thus, A Century of Dishonor conveys the truth about the frontier more so than the frontier thesis. Additionally, the common beliefs about the old west are founded in lies and deception. The despair that comes with knowing that people will continue to believe in these false ideas is epitomized by Terrell’s statement, “Perhaps nothing will ever penetrate the haze of puerile romance with which writers unfaithful to their profession and to themselves have surrounded the westerner who made a living in the saddle” (Terrell 182).
For this essay I will be looking at the work of Hans Zimmer to discuss how music in film engages the viewer and evokes emotion and pulls the viewer toward the film. Hans Zimmer is a German born music composer. Hans Zimmer’s love of music stems from his childhood when he learned how to play various instruments. Before Zimmer began composing music for films he was in a well-known band. The band was called The Buggles whom were famous for their song Video Killed the Radio Star. After the Buggles Zimmer played in other bands but never had another hit. As Zimmer has progressed as a film composer so has his list of nominations and awards. Zimmer has won 4 Grammy Awards and 2 Golden Globes and many more for his outstanding film scores. The reason I chose to write this essay on Zimmer was that his genres and music score are extremely versatile ranging from animations to comedy to dark thrillers. This is important to highlight as it shows Zimmer can create almost any atmosphere with his music whether it be sad or creating tension that all cause us to engage with the film. Zimmer's use of themes and introduction of different instruments allowed him to create these wonderful engaging film score. In this essay I will look at three films by Hans Zimmer these are The Holiday Rush and Rain Man.
Few Hollywood film makers have captured America’s Wild West history as depicted in the movies, Rio Bravo and El Dorado. Most Western movies had fairly simple but very similar plots, including personal conflicts, land rights, crimes and of course, failed romances that typically led to drinking more alcoholic beverages than could respectfully be consumed by any one person, as they attempted to drown their sorrows away. The 1958 Rio Bravo and 1967 El Dorado Western movies directed by Howard Hawks, and starring John Wayne have a similar theme and plot. They tell the story of a sheriff and three of his deputies, as they stand alone against adversity in the name of the law. Western movies like these two have forever left a memorable and lasting impressions in the memory of every viewer, with its gunfighters, action filled saloons and sardonic showdowns all in the name of masculinity, revenge and unlawful aggressive behavior. Featuring some of the most famous backdrops in the world ranging from the rustic Red Rock Mountains of Monument Valley in Utah, to the jagged snow capped Mountain tops of the Teton Range in Wyoming, gun-slinging cowboys out in search of mischief and most often at their own misfortune traveled far and wide, seeking one dangerous encounter after another, and unfortunately, ending in their own demise.
The importance of music in movies is highly regarded for manipulating the viewer’s emotions and helping them immerse into the story. Music is one of the prime elements in cinema. Without it a movie would feel dull and unexciting. There are three elements in a movie: one is acting, the second is picture, and the third one is music. It is a holy trinity; if incomplete, there would be a lack of sensation and excitement. Both acting and picture can stand independently from one another, but music is the one that makes the movie memorable.