The Effect of Editing and Sound Features on Audience Response in The Usual Suspects

The vision Christopher Nolan had for The Prestige (2006) was to add to the outbreak of street magician film, whilst playing a large dramatic subplot equal in grandeur to the magical performances within the film. In the final sequence of the film, I will analyse how the cinematography and sound resolves the plot so that it summarises the themes present in the film, whilst also invoking a response from the audience. Nolan predominantly uses close up shots, non-diegetic sound (music) and dialogue collaboratively to convey the dramatic, personal subplot of the characters and their relationships, whilst appealing to the audience bringing forth an emotional response from the audience. The heavy, slow, dramatic atmosphere of the ending sequence uses various techniques to summarise and uncover the underlying mysteries of the events throughout the film and consolidate themes introduced during the exposition.

In the scene where Madge Geisel abruptly stands up and behaves possessed in attempt to unmask the murderer, the stage crew shined an ominous light on Madge, darkened the rest of the stage, and played dramatic music. The use of a sudden shift in atmosphere was enthralling and it generated a sudden suspense for the identity of the murder. Creating a strong tension in the situation, the crew retained the audience’s attention and made sure they were attentive when there was an important shift in the plot. Furthermore, the lights were flashed and a shuddering scream echoed in the room during the moments Chase was stabbed. These supplementary elements heightened the horror of murder and signaled its brutality and swiftness. With such an antsy occurrence, the play was made more enticing and therefore became more enjoyable to

For my shot analysis I chose a shot from the Spike Lee Movie Do the Right Thing. This is the second shot following the climactic riot scene. It features Da’ Mayor and Mother Sister reacting to the hellacious events of the previous night. The block was just devastated by a melee that broke out because the police killed Radio Raheem after he and Sal got in an altercation that was triggered by the volume of Radio Raheem’s boom box. Though at a very superficial level the fight was about the loud stereo, the real significance of the fight had more to do with the culmination of anger and tension between the characters of the film caused by prejudice and ignorance. This paper will analyze

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

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,

     In the movie Citizen Kane , young Charles Foster Kane is very energetic, optimistic and has a very positive outlook on life. At the same time he hates his old and bitter guardian, Mr. Thatcher, who has secluded himself from the everyday man and the only thing he is after is money and stature. Later on in life Charles Kane turns into an exact carbon copy of Mr. Thatcher, even though that is exactly what he wanted to get away from. In this essay I will prove how the used of sound, in the scenes in Thatcher¡¦s library and Xanadu, as compared to the earlier scenes in young Kane¡¦s newspaper office, help establish this development in Kane¡¦s character.

3. I did not understand the reason for this scene. It seemed like a joke and a waist of time. The detectives were of topic and not professional when it came to their topics. They all started laughing at the end which made it accord.

An important role of a good film is to entertain the audience. One component that is beneficial to films in achieving this goal is incorporating element of drama in the story. Through the collaboration of imaginative directors, with assist from talented film composers capable of incorporating drama into a scene through music, providing audience entertainment by deliver a surprise to the audience and create anticipation on what is next a film has to offer. Combination of low-angle shot with dramatic score music in John Lasseter’s animated film Toy Story and Peter Docter’s Monsters, Inc. both demonstrates how the two techniques go together in creating a theatric entrance for a new character within a film, as well as how manipulating the techniques

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.

A novel choice of shots and angles added to the films value. In the scene where Rocket was stuck in the middle of the gang and the police, it was interesting to see how they chose to use a wide shot to capture the gang’s strength in numbers but a long wide shot was used when show how few police there were. The gang looked so

In this essay, I will explain why a documentary is always more realistic than a fiction film. I will show my thesis by exploring elements that influence how realistic a film is: film editing and format, genre, and transparency. I will use the documentary of Armadillo (2010), by Janus Pedersen, and the fiction film of The Chronicle of Anna Magdalena Bach (1968), by Danièle Huille as examples.

Horror films are known for their ability to scare audiences, to get the audience’s hearts racing, their blood rushing. A good horror film will cause viewers to be on the edge of their seats and having their perception of reality distorted as they attempt to understand the unraveling plot of the horror film. The tone of the film aides in the amount of suspense that a horror film produces, since a much darker film will create a more suspenseful atmosphere than one that is more focused on campy monster makeup. But the tone of a film is determined by the sound of the film, or in other words, the score. Sound or music in a horror film, or the lack thereof, make the intense scenes and without the addition

Sound and editing are both very crucial concepts in film. In Tom Tykwer's Run Lola Run (1998), the way the narrative structure is set up can make the differentiation of diegetic and non-diegetic sound difficult for the viewer. The relationship between sound and the narrative structure, however, also makes the viewer more aware of the film's artificiality. In King Hu's Come Drink With Me (1966), we see how the major motifs of editing emphasize the unrealistic and fantasy qualities of the characters.

i Suoi Fratelli, it is beneficial to analyse these films with reference to two sub-themes:

In the presented essay I will compare the style of work of selected artists in the montage of the film. I will try to point out some general regularities and features of Soviet cinema. At the same time I will try to capture especially what is common in their systems and similar or conversely what differ. For my analysis, I will draw on the feature films of the Soviet avantgarde, namely these are the movies - The Battleship Potemkin (S. Eisenstein, 1925), Mother (V. Pudovkin, 1926) and The Man with a movie camera (D. Vertov, 1929).