Fargo

Music plays a critical role in the narrative films as it is important technique that filmmakers use to support the narrative and influence the way that the viewer interacts, responds and interprets the events as they unfold. The godfather, which is one of all time Hollywood movies, represents a good use of music that succeeded in supporting the dramatic events that take place in the movie. Moreover, both diegetic and non-diegetic music in the godfather movie are used to achieve the overall purpose by using the different principles and functions of film music that range from setting the mood of the viewer to providing continuity within the movie. In this essay, we will take part of the godfather movie in which we can observe and analyse the

Herrmann utilized a unified score that is constantly dissonant. Although there are variation of mood from loving sound to the terror of the shower, all the cues are observed to be used with minor seconds and major sevenths. He also uses distinct sound using the “percussive-sounding strings” through deploying microphone close to the instrument to demonstrate the sound to be harsher, which can be seen as some of the new approaches that Herrmann accomplished through this film as the start of “a New American Era”. In addition, new approach in film scoring can be seen through the lack of contrast in a cue. When a cue starts, it stays consistent and repeats the mood with no variation where there are absence of shifts within a cue. Moreover, descending and ascending chords of the Transition theme have an aloof characteristic with no display of emotions. This in return provides an overall disquieting mood to the story. During the Norman’s story, Hermann employs ostinato to maintain tension and discomforting sound of melody.

Movies, songs and even paintings may seem like just entertaining; but have you ever thought that every text has an argument and there are several rhetorical strategies embedded into the plot, which make the movie’s argument effective? I am a huge fan of the movie “Notting Hill”. I decided to analyze rhetorical strategies in this movie so that I can understand this movie better.

The audio although normally overpowered by the visual aspect played a key role in defining and empowering the movie. The music was fast and uplifting during celebration and on

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

The true mark of many great directors is their ability to develop a commonality amongst many or all of their films. For Instance, Quentin Tarantino can be associated with blood and death and gore, whilst Wes Anderson takes his indie style and enhances it with a plethora of shots with a symmetrical look. The Coen brothers have their niche in things like opening monologues dubbed over shots of scenery and their take on the classic film noir style, but one of their most prevalent signatures is a theme that they use throughout many of their films: people in life are always pursuing things that are, for the most part, unobtainable. The fate of the characters that take on this theme is the way in which the Coens sneak in their commentary on those

After viewing and analyzing the episode "Hush" from the Buffy the Vampire Slayer series, the issue during the film that arises is when a small town called Sunnydale is put under quarantine for a supposed laryngitis outbreak. In the episodes reality, it is actually a group of monsters called “the Gentlemen” who originated from a fairytale book, who steal the citizens of the town’s voices causing them to be unable to speak. The cast of the show finds alternative ways to communicate with one another to solve the mystery and get their voices back. The director of the series uses the setting element of mise-en-scene as well as sound to convey the theme of the episode “Hush”. “Setting creates both a sense of place and a mood and it may also reflect

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 film was directed, produced and written by Joel and Ethan Coen, or the Coen Brothers. The Coen Brothers are known “as one of the most visionary and idiosyncratic filmmakers of the late 20th century.” Joel Coen is three years older than his brother Ethan and both are from St. Louis Park, Minnesota. Both were interested in making films at a young age. As they grew up, Joel went to New York University and studied film-making and Ethan went to Princeton University and studied philosophy. In some of the film they’ve made, Joel was a director, Ethan was the producer and the pair would write the script together. After a few years, they’ve come together as a team to direct, produce and write more films. Many of the films that they’ve created are

The auteur theory is best described as a director taking the role of author. Auteur comes from a French word, meaning author or originator. Just as a reader can detect patterns in written works of the same author, viewers can detect patterns in films directed by the same director(s), if they’re auteurists. They control as many aspects of the film as they can in order to fully embed it with their vision. The Coen brothers do just that; they, down to the writing of the script, work to control many of the elements of their films. The patterns and style, though with slight alterations with time, carry over in their many works. Fargo (1996) and No Country for Old Men (2007), though almost ten years apart, still adhere quite strongly to the same patterns and style typical of the Coen brothers.

Barton Fink is a film that has no set plotline other than a writer who experiences writing block in a detached reality in a hotel. Barton’s writer’s block could stem from the fact that he believes that he has “sold out” to writing screenplays for large movie studios or it may be from all the distractions the Hotel Earle provides for him. The use of background noises within Barton’s room and the hotel itself helps the viewer to see that reality within that room is slightly distorted. Sound that is perhaps louder than usual and prolonged moments of silence are ways that create a different atmosphere than the outside world. With a simplistic sound track that is used sparsely, it helps to keep focus on the dialogue or the actors onscreen. Barton admits that he chose that particular hotel to give him a quiet place to work, but of course, many of the problems he experiences seem to come from there. In this essay I will explain how the sound effects used within the scenes involving the hotel or the room create a different reality in that space.

The music interacts with dialogue in the film; the techno beat is, at times, accompanied by vocals, which correspond with not only what is happening in the scene, but also the internal diegetic dialogue—another important motif.

CENTRAL IDEA/THESIS: Film scores are an undoubtedly important part of the movie watching experience, however you may not know about how they were first introduced, the process it takes to make them, or how they have changed over time.

‘The Chorus’, a music subject movie, is successful due to its soundtrack and music reflects the same feeling – warmth, happiness, as the acting. Soundtrack is something would lead us into a movie’s emotion aspect, and it probably is the most direct way leaving audience expression for this movie. A comedy movie would have the soundtrack with frequent temple and crispy sound, leaving audience an expression of happiness and cheerfulness. A horror movie would have the soundtrack with creepy flow and uneasy sound effect, creating horrible circumstance for the movie. Therefore, a good soundtrack would make a movie more expressive, and audience would more likely to be driven by movie’s content, emotion aspect, making it a good movie.

The relationship between Music and Film has evolved immensely since the emergence of sound films in 1923. In fact, music is one of the most peculiar conventions in cinema. It is not an aspect of film that is questioned, due to its repeated imprint on viewers every time a movie is seen. Music in film is not only something we accept, but something we demand. With time, the advancements in technology has allowed for the creation of more intricate, film scores that have separated themselves as iconic pieces of culture. Of these, the works of Hans Zimmer, in collaboration with Christopher Nolan, have made a particularly transformative impact on the film industry. Their partnership has seen the creation of numerous successes, including The Dark Knight Trilogy (2005, 2008, 2012), Inception (2010) and Interstellar (2014). Their unique methods of collaboration, and stance on the relationship between film and music has played a significant role in shaping the conventions of modern film. Thus, this essay will discuss three of their notable works in detail, and provide an insight into their eccentric relationship.