Clip #1: Pixar short Film Presto One of the first elements that we hear in the short animated film is Guided Perception. An example of the element used in the short film is when the magician moves his hand before he does a hat trick. In the short film, the swoosh sound his hand makes assumes that it is the actual sound. Another element that you can hear during the short film is Mickey Mousing. There are many examples of Mickey Mousing throughout the short film but an example of it being used is when the magician gets mad at the bunny and he stomps towards him.
In the film we can also hear Leitmotif being used. An example of the element used is when the drums go off when the magician put his hand in the hat and when he puts his hand out
Along with background music, sound effects play more of a role on the way we feel than many moviegoers think, and "although the function of sound effects is primarily atmospheric, they can also be precise sources of meaning in film" (Giannetti, 225). When the
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."
One element of film that Julien Temple consistently reverts to throughout his film Requiem for Detroit? (Temple, 2010), is the element of motif. Both visual and aural motifs, used separately and in conjunction, are used to great effect to present and enhance the reading of the film that the director intended. Some key motifs used are fire, abandoned buildings, graffiti and many sound effects depicting destruction and
As Ali's face dissolves to a flashback, non-diegetic music accompanies the overview of Algiers. The musical motif which begins as the camera starts to pan is exemplary of the parallel relationship between the aural and visual elements in the film. As Joan Mellen has highlighted, the arabic soundtrack, as if from another world, expresses the
Burton also uses sound such as diegetic and non-diegetic music and sound in order to advance the mood, feelings, and emotions of the audience. One particularly exceptional example of Burton’s use of sound is in the film Edward Scissorhands. Burton uses non-diegetic music in order to signify the relationship between Edward and Kim. He uses music that sounds almost like an angel singing in heaven while Edward is carving an ice angel. While Edward is at work, Kim spots the beautiful, white snow created by the beautiful sculpting of the angel and starts spinning and twirling in it, as if she’s never seen snow as dazzling as Edwards before. This symbolizes the relationship between Edward and Kim and the forbidden romance that will take place later on in the film as their feelings for each other grow deeper and deeper. This persuades the audience to root and cheer on Edward and Kim’s forbidden romance even though they know the love they both have for each other is pointless and will never work out because of their differences. Burton also uses diegetic sound in the film Charlie and the Chocolate Factory. He uses diegetic sound in order to urge the audience to feel mournful and enhance their mood to feel sorrow toward the former Wonka factory workers. In the film, he uses diegetic sound as the massive gates close to Wonka’s incredible factory. He does this to show the
Another aspect of sound in this film was how it affected the story. By using sound dramatically in certain parts and not using it at all in other parts, sound gave this story an entity of its own. For example, during long stretches of film with mostly dialogue, there was no music played in the background, only a phone ringing in the distance, or the men's voices during their deliberation. These long silences also took place during editing shots of the town and images that surrounded this German city. This dramatic difference in sound was a revelation of how mood can be made by images and sound put together to make an incredible component.
This activity challenged my critical listening skills and developed my ability to appraise music and use aesthetic sensitivity while concentrating on listening to identify the music elements. It was evident that the composer manipulates all the musical elements and qualities to accurately portray the narrative of the Moldau. Elements of music include duration, pitch, dynamic and expression, structure and style, timbre and texture (REF). For example, duration includes rhythm, beat, accent and tempo, that I was able to identify with the loud, triumphant calls of the hunter’s horn, the dominating French horns, and trumpets playing sharp, rhythmic notes. Also, pitch refers to the register of the note in a sound patter (REF). I was able to identify the cheerful mood of the melody that moves in an up and down pitch. Dynamics and expression are evident in the pattern of intensity and volume of the sound with loud trumpets as the river passes the rapids or the bassoon playing low and dark sounds that I thought contributes to dramatic
Wonderland is depicted as being a land of magic, mystery and nonsensical occurrences. The director Tim Burton has been able to do this by the use of numerous filmic techniques. One of the techniques was the soundscape, in the film the sound scape created the desired aura, and ambiance to signify the wackiness of ‘Wonderland’. The sound which accompanied anything related to ‘wonderland’ can be described as airy, harmonious and awestruck, however occasionally it may be interrupted by a natural noise, like a pig running (as seen in the 1st scene of wonderland). It has slow, yet easy transitions between the various notes, making it somewhat fluid. A great example of this type of soundscape is around 11.42; here the music is elevated and accompanied with a vocal choir as the rabbit is from Wonderland. This orchestral arrangement, especially the choir adds an element of mystery and suspense. It also creates a euphoric atmosphere. Another evidence to show the close correlation between the soundscape and ‘Wonderland’ is that, every time wonderland is the subject of discussion, the
The movie The Notebook, directed by Nick Cassavetes and released on June 5th 2004, is a captivating love story, which takes place in the 1940’s. Through filmatic elements such as Cassavetes choices of cinematography, editing, narrative, mise en scene, sound and music, he creates an extremely believable story of two teenagers in the 1940’s who fell in love over the time span of one summer.
Noise is possibly one of the most important parts of sound in this film. There are so many different motifs, the most prevalent being the clicking sound. The film opens with the credits and the ticking of clocks. The ticking of the clocks is both diegetic and nondiegetic; At times when the clocks are shown onscreen, it is obvious that those sounds are heard by the characters whereas often the ticking is used as not only a reminder of time, but also
2d. In Harry Potter and the Philosopher’s Stone, John Williams creates the mood of leitmotif by consistently playing the same music themes based on the scene. Leitmotif is defined by the theme in the music that is associated with certain scenes, moods, or people. For an example, whenever the movie tries to create a feeling of sadness felt by Harry’s loneliness after having lost his parents, there is sad music playing in the background that plays softly. By consistently having this music played whenever Harry is feeling down, we begin to associate the connection between the two. Another specific scene where the same sad theme is played in the background, is when Harry looks into the mirror where he sees his parents. John Williams does this for all sorts of moods whether it be happiness, sadness, or excitement as well as having music for specific characters and settings.
Even though the film is essentially a visual experience, the use of sound has become extremely important in modern film. The modern viewer hears a complicated soundtrack that is as meaningful as the image on the screen. Three elements comprise the film's soundtrack: the dialogue, the sound effects, and the musical score. The proper balance and mix of these elements produced the essential emphasis required, which created the desired effects. As explained by Joseph Boggs and Dennis Petrie,
Music has played a major role through out the entire film. It is used as a
Spielberg uses the musical element of melody in the opening scene. We hear Celie and Nettie singing a tune together, clapping their hands, and dancing around in a field of purple flowers. Another musical element used is rhythm. Rhythm is found in the scene where Albert is kicking Nettie off his land. The notes are long for a more dramatic sound.
The music is appropriated to the visual images. When George is thinking about his daughter is going to leave him, it has background music of ¡§My Girl¡¨, and the lyric fits his feeling. The film uses narration, George tells what is going to be happened and defines the places. It is effective because the story is very realistic and the language is funny.