Raiders of the Lost Ark directed by Steven Spielberg, has all original music composed and conducted by John Williams. In the, Golden Idol and Boulder Scene we see Indiana Jones and his helper encounter the golden idol. Here jones stands before the idol and there is dissonant music playing this music makes it seem like something is about to happen. We then hear what sounds like a trombone playing a dissonant chord. Jones’s assistant then makes a move toward the idol but Indy stops him before he can even take a step. Then jones crouches down to check a booby trap and we hear what sounds like a clarinet, making suspicious and not very clear sounds, after this happens we hear a sharp flute and an arrow is shot at a stick Indiana …show more content…
As he gets closer the score music begins to rise in volume and he crouches down to observe the idol at eye level. He stays there for a couple seconds admiring the object, in this moment all we can hear in the film is mainly violin playing in a smooth and almost romantic way. This string music contains a low pulse and the viewer is being coaxed into sharing the same admiration that Indiana Jones is having at that particular …show more content…
Indiana is forced to ask his assistant to throw the whip so he can swing from one side of the pit to the other, music pauses a bit when his assistant tells him to throw the idol to him. Jones thinks twice before doing so but he throws it over because the trap door was closing off, his assistant betrays him and drops his whip. Here the music starts again in the same high paced way it was before; Indiana is force to make the jump and just makes it. When he jumps we here a light, higher pitched sound. Then the camera pans out and we see the trap door closing slowly. As the trap door closes we here low minor sound coming from what sounds like a trombone and maybe some trumpets. Indiana Jones manages to get a hold of a rope and pulls himself out of the pit and through the trap door just in time. The high rate music continues and then we get an exclamation in brass sounds as Jones turns to see his traitor impaled and dead with stakes going down his
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.
I have chosen to evaluate a scene from Indiana Jones, Raiders of the Lost Ark where Indiana and Sallah uncover the Well of Soles where the lost ark is hidden. We open the scene at 57:03 with Indiana leading a team of diggers up a hill to the spot where they will dig for the ark. As the scene opens we hear the diegetic sounds of the diggers and commotion taking place in the background. We also hear non-diegetic music that will be referred to as the “ark theme” playing as Indiana climbs the hill and has his men start to dig for the ark. The slow and sort of creepy tone that makes up the ark theme reminds us of the continuing quest for the ark and
Being that both the Crystal Skull and The Matrix are arguably adventurous films, they both had nondiegetic sound elements - music. For instance, during clips that illustrated the antagonist ( Agent Smith and the Russian soldiers) both films maintained suspenseful music selections. In times of car chases, shooting scenes and other upbeat shots, the music got very exciting, pulsating and alluring. However, due to the fact that The Matrix (1999) was the first film debuted in its series, its sound patterns were relatively new to audiences. Whereas in the Crystal Skull, viewers are hit with the familiar Indiana Jones jingle throughout the film. All these non-literal sounds were not coming from a particular source or conveyed literal meaning, they just intensified the scenes. On the other hand, in the Crystal Skull viewers also receive a lot of diegetic sounds especially while in the jungle. One of my favorites is the creepy, hissing and crawling sounds audience members hear coming from the ants as they take over the screen. This successfully does a great job of connecting viewers with the actions on screen and undoubtedly makes them cringe and shake as the ants swarm and consume the Russian soldier. Moreover, we get another diegetic sound coming from a snake when Jones is trapped in the quick sand. I found this scene to be interesting because it yet again symbolized the “Indiana Jones” theme. Indiana Jones is knowingly scared of snakes so hearing the hissing sound immediately frightens him and connects viewers with his long-loved character. On the other hand, in The Matrix ambient sounds were heavily used especially in the “real world.” While on the ship viewers hear the destruction and thrilling sounds coming from the robots and machines in the atmosphere. The same technique is used once characters travel into the Matrix and the environmental sounds transform from machines to
{The curtains open to a scene that has a backdrop of moving a train. The background music starts the minute the curtains open and plays under the dialogue. Raul is looking out the door. }
The Epic of Eden was written in hope that believing readers would come to an understanding of the Old Testament as their story. A way for them to understand and cross the barrier that is created by the people, places, history and context of the scriptures which can be daunting and hard to navigate. As Sandra L. Richter, who is the author of Epic of Eden, depicts the modern believer as having what is called the dysfunctional closet syndrome. What she means by this is that as believers we are given many “stories, characters, dates and place names” but we do not have a way to sort all the information, like a closet with a bunch of items but no shelves or hangers. Ritcher aims to sort out these barriers and in the course of the book and all in
us he has experience. They come to a deep hole, there is a camera shot
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
Their traditional instruments create the mood of the film, having some of the best musical scores that I’ve heard in a film. Zhangs use of instrumental music throughout his scenes create a sense of intensity and mood. At the beginning of the scene the music starts with a soft tune and slowly increase in volume as Broken Sword walked through the hall ways. The scene used more of a strings melody that created a calmer, more intimate scene. This is then followed by a dynamic transition into the following fighting scene. As the film progresses though the fighting scenes, the score evolves into a more epic and intense melody which uses the sounds of objects in movement, accompanied by a percussion that creates an intense mood, and the soft vocals of a female to create a more elegant melody. Dun Tan, the composer of the score used more traditional forms of instruments to create a feeling of immersion in the time period chosen. The music is one of the strongest elements in the film really creating the
In 2001 space odyssey, as formentioned, he uses light classical music juxtaposed with the dark mysteries that surround the mission and the spaceship Discovery One. The music provides a sense of serenity as well as discombobulated feel like one might feel in space. As with all of his films there was great attention to detail and it was visually stunning as well as aesthetically pleasing. One specific shot of beauty is in the beginning of the movie titled “dawn of man” after the apes jump around the monolith, the sun is setting behind a flat topped hill and the moon is juxtaposed right above it with golden clouds all around. Also in this movie, the reoccurring theme of an unsavory character that we are manipulated into sympathizing with is HAL during the
He is able to use these parts to manipulate the audience’s emotions. The music playing from the car is an on-screen sound. As the man gets attacked, the volume increases. The sound helps intensify the scene that has been created by the film’s visual elements. The audience then subconsciously forms ideas, opinions, and feelings about what they are seeing. The viewers develop scared feelings as the scene intensifies to the happy upbeat tune. The increasing volume of the cheery song reflects the violence and the sinisterness of the scene. The song stops with the slamming of the car’s driver-side door as the man is abducted. There is a moment of silence and then a new song abruptly entered the silent scene. The music is non-diegetic and is an offscreen sound. The song is screechy, high pitched, and jagged sounding at first, continuing the anxious and scared mood. The song shifts into a sort of soulful hymn. The tone shifts along with the song. The audience begins to feel relieved and relaxes to the peaceful song.
In 1981, Raiders of the Lost Ark stars Harrison Ford as Indiana Jones. This film depicts Jones as a professor, anthropologist and an archaeologist. The first scene of the movie places Indiana Jones in a tomb in order to get the small golden statue, before moving on to the next part of the movie where he’s teaching a class on archaeology. He is called to action later in the film when Jones is told that the Nazis are searching for something called the Ark of the Covenant; something that holds the key to humanity. Throughout this film, Indiana Jones is filmed working as both an archaeologist and anthropologist and though the movie series is centered around his profession, Jones is not actually practicing proper anthropology or archaeology.
There are thousands of movie composers in the music industry, a few who triumph and whose work is well known to almost half of the world. One example of that can be the famous Maestro John Williams. John
Though these aforementioned motifs are used quite extensively in Hollywood film music, the use of music to augment the cinematic scene in Hollywood films is seen most noticeably during instances of grandeur and opulence. To accompany these scenes, the film scorers elect to use large ensembles, with each family of instrument partaking in the production. This correlation has become a staple in Hollywood films, as “orchestral size not only indicated musical choice or financial well-being but became a status symbol for the music director” (Morcom 70). Such an implementation of emotional mimicry is found in the movie The Lord of the Rings: The Twin Towers, when Howard Shore’s “Helm’s Deep” played during the Helms Deep Charge. In the middle of the Rohirrim charge at Helms Deep, Gandalf the White presents himself at the top of the hill on a great white stallion. Gandalf is magnificence personified, so the choice in musical accompaniment simply strengthens the delivery of this fact to the audience. Therefore, as seen from all three previously discussed styles, there exists a pattern in the field of music, where an inherent sense of strategy and intention is employed when selecting the notes in a piece. In American culture, the general view of film music is that “song sequences, seen as distractions, cast doubt on a film's narrative authenticity by limiting creativity, plot development, and characterization, resulting in a genre that appears to lack cinematic realism as compared to
The music helped in elaborating this great film. As I mentioned in class different instruments helped create different moods for different scenes in the movie. We heard the cello and the violin to create sadness and remorse. The flute created eeriness and the trumpet created awareness. I thought these were instruments and tools that help make this film extraordinary.
The Silence of the lambs (1991) is in doubt a film which demonstrates a well-constructed horror film. The film, ranging with scenes, shots, and frames that were well constructed to be identified as horrific. The films cinematography shifts the films narrative and impacts the film, especially the film’s frames. It seems reasonable to suppose that from the film’s frames and of those of the characters expressions, they shape the film’s genre to be horrifying, psychological, and thrilling and they guide viewers towards where the film’s narrative will lead to. Therefore, even a single or series of frames in the film such as Hannibal Lecter’s evil smile, Buffalo Bill opening the door, Hannibal Lecter standing in his cell, and the dialogue between Agent Starling and Hannibal Lecter, act collectively to represent and symbolize claims about the film.