A Academy Ratio Of 1.37

Non-diegetic sound is also used fittingly in The Tall Man. In interviews, often there is subtle instrumentals playing. When the film is detailing more of the distressing components of this case, suspenseful and tense music is playing. One key scene where non-diegetic sound is utilised, is when a picture of Doomadgee is focused slowly zoomed to and in the background the song, “(San Francisco) Be Sure to Wear Some Flowers in Your Hair,” is playing. Not only was it one of Doomadgee’s favourite songs but the jovial melody forces viewers associate him with it. Effectively, emphasising that a good man wrongfully died.

The majority of the film’s sound is derived exclusively from diegetic speech and sound effects that bolster its overall realism. However, the first instance of nondiegetic sound occurs in the opening credits when a male narrator provides rudimentary background information on the “Doomsday Device”. This voice-over narration stimulates the suspense of the narrative while providing the spectator with unrestricted information by revealing more insight than the characters know at this point. The ensuing credits sequence incorporates the song “Try a Little Tenderness” which communicates the idea that men should be tender with their women. The romantic song is cunningly integrated with the image of two B-52 bombers connecting, as one refuels the other. The sequence is suggestive of romance and the physical act of love. Following Dr. Strangelove’s infamous speech at the conclusion of the film, a montage of nuclear bombs detonating is shown with Vera Lynn’s

To start off, Quentin Tarantino gave much attention to detail in his diegetic sounds. By including crickets chirping, floorboards creaking, bullets ricocheting off multiple surfaces, and, of course, blood splatter, Tarantino truly brings his audience into the old American west. Another example of diegetic sounds in the film is when Dr. Schultz is waiting for Mr. Candie to sign the papers

Everything in the frame is in focus, which in a cinema viewing is a lot to take in, especially considering the films aspect ratio of 1.85:1. However, the audiences’ eyes are cleverly guided around the frame by almost unnaturally loud sounds, some of which are accentuated in post-production by Tati. The sounds against the floors create a reverbing echo, highlighting the absurd impracticality of the building. A man and a woman sit in the bottom left hand corner of the frame in what appears to be a waiting area. They are dressed identically in their monotonous grey colours, as if they are enslaved to the colours surrounding them. During the shot’s beginning, the audience is drawn to the nuns and their rhythmic footsteps as they enter the frame. Then, through a combination of actor gestures and dialogue, this gaze shifts to the two characters anchored in the foreground of the image. The rattling of a table being wheeled out by a man in white into the frame moves our eyes, as well as the couples own attention, to

The way Godard uses camerawork and editing in the film is another way that he uses forms and standards of cinema in order to purposefully draw the audience’s attention to the filmmaking process. In classic Hollywood cinema, spatial and graphic continuity editing is extremely important, and often worked to perfection. Editing in Breathless is not used to advance the storyline or show continuity between scenes, but to echo the rhythms of everyday life. There are many jump cuts throughout the movie, which is considered a sin in classic cinema. The interesting thing about the jump cuts is that the dialogue continues uninterrupted despite these choppy cuts.

Shot 7: Close up. Dorothy scared, nervous, and confused by this person. Tight head shot. Straight on camera shot, no movement. Music still constant.

It is usually pre-recorded and placed over the top of a film or video and commonly used in documentaries or news reports to explain information. Focusing on selected sounds can create tension, atmosphere, and emotion. It can also impart personality to film characters. Walter Murch (the doyen of sound designers) once described the character sounds (in a film he directed) as "coronas" which can magnify each character' s screen space. A figure who is associated with a particular sound (often suggested by his or her clothing), has "a real presence that is pervasive even when the scene is about something else or the character is off-screen."

The director uses multiple camera shots to highlight the love during troublesome times and the emotions that are present. A wide shot is used when the audience watches Guido marching in front of the soldier shortly before his death. Guido does this as he is aware that his son is watching and still wants the experience of the camp to be a fun game and does not want Giosue to be afraid of what is happening. Close up shots are commonly used throughout the film to give more detail into the emotions that the characters are feeling. A

This is achieved through the use of pan shots, combined with non-diegetic sounds. In the scene where Brandy was reading her diary, a pan shot was used to show that she was living in a poor neighbourhood and the negative conditions associated with it. When her dad aggressively pulled her mum through the room and out of the house she described the violence the family experience at the hands of her dad. A mid shot was used to express the anger in the dad's face but also the tears and screaming in her mum’s face. This focuses the audience's attention on the domestic violence that Brandy experiences. The director portrays this through Brandy’s voice over dialogue, “ I watched my mother being half beaten to death…..” This is a powerful use of non diegetic sound combined with a pan shot. This allows the audience to see that the whole family was living in a small house with one bedroom. The reason why the director combines the panning effect with sound is to have a stronger effect and draw stronger emotions from the audience. The use of voiceover and non diegetic sounds create a stronger and more realistic mood for the audience. The use of voiceover during the scene of her mum getting violently pulled and pushed is mixed with panning shots to also show the reaction of the rest of the family as they witnessed the violence. Through the use of these techniques the director encourages audience to think about and emotionally understand what a lot of young people in abusive families go through and the struggles which make them who they are

Later on in the day, after a field trip to the local planetarium, Jim meets a group of kids that are troublemakers and want to fight with him. As a conversation begins, music also begins in the background, yet quickly changes when the gang wants trouble. The music becomes fast, louder, and more suspenseful. The style of mickeymousing, "type of score [that] uses music as a literal equivalent to the image" (Giannetti, 231), was also used in this same scene. Jim and the character of Buzz are fighting each other with knives, and at every jab of the knife the music changes and becomes more dramatic and even more suspenseful. It is said that, "music can serve as a kind of overture to suggest the mood or spirit of the film as a whole" (Giannetti, 233). Later on, James Dean's character is asking his father for advice, and the music becomes quiet, slow and mysterious. Another scene where the score plays a vital role in the atmosphere is during an argument with Jim and his parents. Jim and his father are yelling, and when Jim grabs his father as if to hit him, the music turns scary and very intense.

In addition to camera movements, he uses camera distances and framing to create images that make the audience feel cheerful. When he frames a shot, if it takes place outside, there is ample amount of bountiful nature within the frame. The most prominent example of this is toward the end of the film when the narrator is describing the after effects of the massive storm. It is a medium close up but the narrator is only in a small portion of the frame, the rest if a

By offering a shot by shot analysis of a scene that uses diegetic sound the audience can understand why the director used these sound aspects to tell his story. This analysis does not just follow one scene but rather a series of scenes in order of what is relevant. First we are witness to the mother in her apartment washing clothes on the washing board and the camera then cuts to the clock, which is striking time and making an animated noise that brings the audience into this important element of the film. The story then cuts to Elsie being honked at on the street with horns that are overly dramatic in sound, yet another way for the director to use the sound technique. Another way the director uses sound in a dramatic way is when he presents Elsie bouncing her ball down the sidewalk and on the

The mise-en-scene of Interview with the Vampire is relatively theatrical in nature. Long shots are used for much of the movie and the intense close-up shots are retained for the extremely moving victimization scenes where the camera closes in on the eyes of the vampire attacking its victim and what the vampire is feeling thru its eyes (Rice). Also because of the darkness of most of the settings within the movie and the lushness of the immediate sets and costuming one gets the feeling of the importance of the characters and where they are at. The character proxemics and intimate distance of the shot when Claudia curls up with Louis in his coffin, shows the feelings and morality that Louis is fighting so hard to hang onto in his immortality and the loss of the innocence Claudia has accepted.

generate moods, and have great psychological affect. This is just as true for the very first series of shots for the film, and perhaps more important since these first shots will give the audience the initial feeling of the film, and set a tone for the picture. The first shot is highly dramatic in its lighting method, and the audience is drawn in immediately to one single detail. A man begins revealing the details of a tragic incident that befell his daughter. We don’t see who he is talking to. There is a spotlight directly above the man, and this is pretty much

Most commonly questioned temporal shots are smoothed together using continuous diegetic sound creating a logical linear timeframe that is an auditory reminder for the audience. Other related techniques, such as the flashback and montage, are also commonly utilized in continuity editing within Classical Hollywood cinema. A flashback is the jump in the story from a point in the present to a point in the past; an internal analepsis is a flashback