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Mood and tone essay
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Tommy Fawkes got the chance to perform on a big stage in Las Vegas, Nevada the place where his dad used to be raised and praised. However, Tommy is so unlucky because he was overshadowed by his dad who was invited to be on stage right before Tommy’s performance making few jokes, at the same time stealing Tommy’s line. Thus, during Tommy’s performance, because of the expectation the audience got from George, they went shock to hear a quite disappointing jokes from his son, Tommy. The silence is silence of all three elements which are sound, voice, and music. The awkward diegetic silence from the audience in results of Tommy’s joke downgraded his status to the lowest level ever. The size of the silence is so big since it comes from a big crowd and intensified by his dad’s same crowd who response to his dad’s jokes. The silence is so powerful until it makes Tommy to run away from his family and his career in the United States. …show more content…
When the psychiatrist asked Bruno Parker about Jack’s behavior when he is pushed, Bruno try to recall the memory again. The flashback was showed in white and black and with the silence of the sound and the human’s voice excluding Katie’s voice. The flashback also in a slow motion shows that everyone at that time was affected by the scene. The only voice which is not muted during the flashback showing that Katie creates the causality of the things happened at that time. The meta-diegetic music has sad emotion in it creating a sad, cold environment. The sound is not muted during the flashbacks, intensify the realism of that particular scene where Jack react to Francesco’s act who hitting Jack with a
In the book The Chosen the four main characters have different views on how children should be raised. Danny Saunders was said to be raised in silence. Danny was raised in silence in that communication was cut off between Danny and his father, except when they were studying Talmud. The reason Danny’s father did not speak to his son is because Rabbi Saunders wanted to have Danny think things through himself. Reb Saunders also wanted Danny to grow up in the same manner he himself was raised.
In Orfield Laboratories, Minnesota there exists a room known as an anechoic chamber. Anechoic means free from echoes, the room measures at -9 decibels. 45 minutes marks the longest time anyone has spent in there alone. Lacking outside noises, the quietude of the room allows those inside to hear their own internal organs; occasionally hallucinations occur. The chamber amplifies an unknown fear, dead silence and extreme loneliness. Like many things, silence has a multitude of advantages, but extreme silence can prove devastation. In Chaim Potok’s The Chosen silence as a theme demonstrates destructivity. Devastation caused by silence is shown through Reb’s parenting methods, Danny’s silence between his father, and Reuven’s various experiences with silence.
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 grow 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.
The beat and resonance of the music is very slow and soothing. It immediately sets up a sad mood. The music also manages to create a lonely and sympathetic atmosphere, which carries on throughout the play. The music only plays at significant times in the monologue as the tone of music needs to fit the mood and subject of which Doris is talking about at that moment, i.e. when Doris reminisces on the good times the music becomes lighter; but when she talks about the death of John the pace of the music slows and becomes duller. The use of music alone can form an overwhelming sympathy if appropriately used.
In The Chosen by Chaim Potok, the main character Reuven Malter experiences silence in all forms. This phrase applies to him by the time that he never appreciated how much he and Danny Saunders has been talking and then suddenly Reb Saunders, Danny's father, separated them. This is appointed to in this passage, "I hated the silence between us and thought it unimaginable that Danny and his father never really talked. Silence was ugly, it was black, it leered, it was cancerous, it was death. I hated it, and I hated Reb Saunders for forcing it upon me and his son (Potok 235, Ch 14). Though in this passage Reuven said he hates the silence, it makes him more aware of what is happening and learns to enjoy it and make use of it. "In subsequent weeks, I was grateful for that silence" (Potok 242, Ch 14). This silence has opened his mind and has allowed him to think of more
Silence is another way of talking for the Saunders'. It's how Reb Saunders taught Danny because it was the only way he knew how to teach his son. Reb said, "My father never talked to me, except when
Silence — the sound of quiet, the state of mind, the lack of meaning — all these pertain to its definition. Communication is expanding, noise is increasing, music is becoming more obtainable as people search desperately for a moment of peace or a breeze of silence. As the scarcity of physical silence increases, its value as a rare commodity increases as well. The idiom “Silence is golden” may perhaps only grow closer to reality as time passes, as exemplified by the white noise machines or silent fans entering the market and fictionalized in Kevin Brockmeier’s short story, “The Year of Silence.” In light of this, Brockmeier explores the value of silence and noise in his story without putting one above the other. Through strange clues and hidden
The film starts out with orchestral music, and shows James Dean's character, Jim, drunk on the ground of a sidewalk. The sound of a police siren is heard and used as a transition into the next scene that takes place, understandably, in a police station. While in the police station, Jim is yelling along with the sound of the siren, and humming loudly to give the impression that he is drunk. At one point in the scene he is brought into another room with an officer, and begins to punch a desk. The sound effects are loud, and the he pauses, and music begins again when he begins to hurt. Again, a siren is played at the transition to the next scene. However, for the most part, score music is played during all transitions.
The music and sound effects are in the same pont with what the author nedded to say in that play. In the smok and sword fight on the first act we thought will be a play where every body is confusing and fight each other. The phone ringing all the time and this help the actors to play around in the hury and action come up with rehearsal process. The purposes of the phone is any time we heart that something is going to happen, so we expectin to change the sequence in the play. Ringing the phone open a problem, hanging up the phone close the problem. Opening and shoutting the door of dressing room as a slamming it create for the audience understanding the flow of the show and leaves the flexibility as we see white and black to the performance. Crying with tears make the player dramatic, but afraid of discover which it trying to keep things together laughting and
‘Noises off’ tells the story of a company of underprepared actors attempting a final midnight dress rehearsal (which half of the cast think is only a technical rehearsal) of “Nothing on”, a raunchy sex fuelled farce, and their subsequent poorly prepared shows. The comic potential of a farce within a farce is massive; as Murphy’s Law, scripted or otherwise, takes hold of the piece and, with a snowballing number of errors, propels the piece to a breakneck pace before imploding spectacularly in the climactic scene.
Background sounds and music heavily affect who controls the conversation in All Quiet on the Western Front. Comparing the chaotic, almost annoying sounds present during the soldier’s conversations to the heroic marches or absolute silence behind the older generation’s propaganda, the audience and other characters are more easily influenced by the clearly heard
...11). Sound Upon Sound: The Conversation. [Online] Available from Sound on Sight: http://www.soundonsight.org/sound-upon-sound-the-conversation/ [Accessed 05 February 2012]
In Maxine Hong Kingston’s autobiographical piece “Silence”, she describes her inability to speak English when she was in grade school. Kindergarten was the birthplace of her silence because she was a Chinese girl attending an American school. She was very embarrassed of her inability, and when moments came up where she had to speak, “self-disgust” filled her day because of that squeaky voice she possessed (422). Kingston notes that she never talked to anyone at school for her first year of silence, except for one or two other Chinese kids in her class. Maxine’s sister, who was even worse than she was, stayed almost completely silent for three years. Both went to the same school and were in the same second grade class because Maxine had flunked kindergarten.
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
Just after this, there is a cut after which ambience sound takes over. The hustle bustle of the station, cellphone beeps, footsteps, the metro announcements etc. are used to bring us back into the physical realm of the character, the metro station, which is a shift from her mental space we were at before this. This then grows into another background score evoking anxiety and anticipation, suggesting something grave yet critical is going to happen. Rightfully then, Bob Biswas appears with his uncanny smile, ready to push her. Interrupted by a cut, supported with the train’s honk, we reach the edge of our seats when he pulls her back. Terror-struck, she starts to go back, Bob still following her, this time the ambience sound is layered with a