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Essays on musical score in movies
Essays on film music
Essays on film music
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The scene titled The Plan for Kee begins with a close up of a wide screen tv, again a scene where the news is playing out tragic events in this case the murder scene the audience saw where Julian Morres character was killed. The scene is set in a kitchen with dim lighting and green walls. As the camera zooms off the television, the take last 28 seconds before its first cut to Theo and then a few cuts are made in a matter of five seconds. As the scene develops it is shot long the audience sees the entirety of the room as the groups has an discussion and it slowly moves in. As it make several cuts back and forth from Theo then to the group of people, when the camera is on the group of people it looks like a point of view shot from Theo’s eyes what he is seeing and hearing. Then it zooms back out for a reestablish shot of the hole room again. When Clive Owens character makes his speech to the other characters in the room the camera shots him from the waste up in a medium long …show more content…
When the scene first begins it is presumed to be night time with the only light coming from lights hanging on the home and then as the actors start to drive away the sun suddenly has completely risen and becomes how the scene is lit while the characters are in the car.With not many lines spoken in the scene the background noise in the scene stand out. Sound effects Dogs, cows, and chickens, barking and howling and the sound of the cars wheels as they roll across the gravel and muddy road. There were also not to many cuts made in this scene many long takes as the characters actions played out as it was an action scene with characters trying to escape bad men running after them with guns and all. Then the scene ends with telephoto lens with the bad guys in the distance as the characters in the car driving
The sound used in this scene are all diegetic, the sounds of gunfire and explosions show that the characters in this scene are in very real danger of being shot or blown up, this helps the viewer develop a more personal connection with the characters since the scene is towards the end of the film, the viewer has developed a personal connection with the characters and do not want them to die. The diegetic sounds of military personnel can be heard, this is used to show the urgency that the military personnel have to get The Sapphires and Dave out of the dangerous situation. This scene is used to emphasise the danger that Dave and The Sapphires are in very real and very lethal danger, the mixture of sinister camera angles to emphasise the visual danger that the characters are in to the inhospitable sounds portrayed by the scene to highlight the explosive danger that the characters are in. The lighting used features the darkness and the difficulty to see due to the night sky.
Playing “Dream Lover” from the start, Kenneth Anger has found the sensual side of communicating with an automobile, while still keeping the movie free of blatant symbolic imagery. The scene of the short is a very plain stage. A pink backdrop with no props other than the car, our attention is already focused to the action to be presented. The shots are very slow and very smooth, with fade’s and dissolves used abundantly for the transitions. The panning is done at a very slow pace, with the polishing being done at about the same speed. What could be only a few quick shots of a man have been dragged out into 3+ minutes of care and love to the car. The buffing rag itself is virginally white, having never seen any dirt on the car. Everything in the scene leads to a very innocent, sensual theme that Anger expresses so well in his cinematography.
As, the scene fades back from black, non-diegetic sound takes place as the background sound source. Sound that hasn't been implied to be present in the action: added for the dramatic effect. The suspense in the scene is constructed from this sound. Furthermore, props throughout this movie are essential, the audience are
The lighting was also very effectively used to show the coming and going of cars on the set. The reflection of lights on the front door of the house were used resemble those of an automobile. Even the final scene had just enough absence of light that the shadows of the characters could be seen sitting around the dinner table and praying by candlelight. At the very end of the performance the candles were extinguished consuming the set in blackness in turn signifying the end of the production.
In the first minute of my scene there is some beautiful angelic music that in 20 seconds gets louder and then slowly gets brighter and clearer. But when we are reaching thirty, the scene is fully lit and bright and we see the countryside. As we drive by beautiful green hills,mountains and trees on a what seems completely calm day. The director uses an extreme long shot to set the scene for the character we’re about to see is. Then he pans at about 33 seconds all the way to 40 seconds.
One way the filmmakers did this is with the on location shots of rubble in many scenes. The characters in these shots are carefully placed to make the rubble stand out behind them. Lighting is carefully placed to illuminate the rubble and make it stand out. However, the carefully planned cinematography also plays into the overall meaning of the film and not just how it looks. The lighting, for example, influences our feelings for certain characters. Susan Wallner is always filmed in light. This is a drastic difference from how we see Hans Mertens. Hans is usually filmed with low light and is very dim. This helps show that Susan is optimistic, while Hans is pessimistic. Another way lighting is used in this film is to create shadows. Shadows are very prevalent in the last sequence of the film. Hans has confronted Bruckner and as the camera cuts back and forth to each of them we see Hans shadow keeps growing bigger and bigger behind Bruckner. We can interpret that as the shadowing is growing bigger so his Bruckner’s fear, because the dialogue coming from Bruckner is getting faster and we can also hear the fear. There are many times in the film where close ups are used to make the storyline more dramatic. One scene that comes to mind that makes use of quick cuts and close ups is in the end of the film: Susan ran in, stopping Hans from killing Bruckner. At this point we
Throughout the first five minutes the shot changes from long to medium within this time frame when the men get out of the shed and walk to the car were there is a elegant looking man waiting for them. The worke...
But not only is the film so similar in darkness, the scenes are short, reflecting the shortness of the panels. Unlike a more “normal” movie, the scenes change quite frequently and not only by perspective. The movie is constantly changing both viewpoint and scenes. Although this is common in action movies, it is used more widely in this film unlike in action movies that tend to use this form of filmography during very high tension scenes.
use of the camera the sound and the mise en scene. I will analyze the
The first scene is a television which automatically brings the modern feel to the film. As the camera gives the sense of the television moving slowly towards us we suddenly break into a quick speedy montage showing the story and some of the characters. The introduction to the play is repeated, once on the television by the news reader and again during the opening montage. This may be to create effect or perhaps to show the importance and publicity this story had. The scene in the petrol station focuses on the rivalry and hatred of the two families, The Capulets and the Montagues.
The scene starts with a medium close-up of Richie, who is positioned in the center of the fame and looks directly into the camera –which also doubles as the bathroom window- while wearing his signature headband and sunglasses. The medium close-up leads the viewer to focus on Richie’s face during the actions that are to fallow, but it also allows for a sense of place to be established. The scene starts off poorly lit and with a s...
In the opening scene of the movie we see Frank’s character played by Denzel Washington. Right away we are shocked by his violence and see his power. This is the first motif we are introduced to. We see Frank stand tall over his victim, and the dark shadowing we see on his face and body show his dominance. Another motif we are introduced to is how real this film is setup to be. The car headlights that setup the background and introduce where we the setting is as well as motivate lights. They have a purpose in the film in promoting its authenticity. We also hear the all the sounds in the forefront. When hear the sounds up close it dramatic for us as viewers. We hear every 7drop of gasoline that is poured on the man’s body and we even hear the flick of the lighter as Frank sets the man on fire. This is the director Scott Ridley’s way of saying to the audience I want to fool you, and I want you to feel like you were there and what you are watching in front of you is real.
Whilst this is happening the Halloween theme music is playing in the background, this music is very high pitched and uses string instruments to create horror and suspense for the viewers. Once the credits have been shown there is a 'vls' (very long shot) of the house this is used to set the scene, this is a subjective point of view from the killer .This can be related to the German expressionism where they would use bumpy camera movement to seize the audiences concentration .They use a handheld camera to do this scene as it emphasises the killers movements to the audience. As the Killer begins to make his way around the house be looks up to see the light go off. When this happens there is a sharp shrill sound which enforces the killer's actions.
Then the question is posed to Mr. Lockwood, "How did it all begin?" The answering of this question is what my paper will explain. I will attempt to break down the opening scene and show how it all started. By using tools of film such as sound, editing, mise en scene, and cinematography, this paper will show how the scene was made as well. Mise en scene played an important role in this movie as with any other movie.
The first thing I noticed when watching this is the position of the camera, it is almost a point of view shot of Erin, slightly offset of the doctor, but none the less she is slightly below the camera, and we are very close up. To me this seems to emphasise her nervousness, and when there is a jump cut to a further away angle we, as the audience, are put in the position of the interviewer. We are then treated to a mid shot of the doctor himself; Erin behind the camera still waffling on nervously, the doctor does not seem impressed. In the background we see several skyscrapers, which gives us the impression we are high up, a metaphor perhaps for Erin's real place, i.e. the bottom.