Under The Neon Filter : Spring Breakers

Sound, in a film, is the element that the filmmaker uses to explain a movie’s story. It reproduces and magnifies the world that has been created by visual elements of the film. The aural effects of certain objects, settings and characters are what define the sound. There are many types of sound when it comes to film and they all play a specific part in telling the story. Examples of sound are diegetic and nondiegetic sound.

They are ecstasized in pleasures, considering these shindigs a means to escapism and spring break some kind of religion that salvages their boring routines. Spring break is desirably a must for them to partake in with their peers. This idea is presented through the repetition of our four main girls’ ‘Spring break, spring break forever.’ line from start to finish, paired with phone calls from their relatives to tell about how they feel different there, how they find themselves there and how great and extramundane the place seems to them. The girls think they finally get a hold of inner spirit and be in touch with friends who can stick with them this whole life through everlasting pleasures, as the climax makes use of this talk in a messed up and ironic manner. The religious spring break swallows up their consciousness like a voluntary obsession through surrealistic sense in colorfully glazing sceneries, even in a twinkling, still feels eternal within that brief moment of rejoicing. In order to get a grasp of it, three out of four main girls, Candy (Vanessa Hudgens), Cotty (Rachel Korine) and Brit (Ashley Benson), decided to rob a whole diner using claw hammers and squirt guns for spring break money, and stole a lecturer’s car to travel there

Not only is there a conflicting dissonance between the diegetic and non-diegetic sound as discussed previously, this element is equally present within the incidental music itself. Quite frequently a single beat or rhythm is introduced and subsequently grouped with differing, often incongruent beats, sound effects, noises, and tones. Combining a huge assortment of audio techniques, varying greatly in style, tone, and tempo, the background score is erratic and unpredictable and it injects the film with a volatile, unrelenting feel. Futuristic melodies, distorted and muffled noise, screeching static sounds, pulsating beats, siren-like music, pounding, banging, grating, and soft, echoing tunes are all combined and jumbled together at different times, never letting the audience get comfortable with anything it hears. This effect is amplified by suddenly starting and stopping, changing speeds, and alternating levels of volume to the already perplexing and unnerving soundtrack. These strategies, much like the foreboding antagonist, constantly remind the audience of the looming, impending doom the characters face, even in the safest of settings and in the most mundane

Sound provides an excellent descriptor for an audience member. The elements of diegetic and non-diegetic sound can elaborate a scene with size, scope and time passage. As off-screen (non-diegetic) and on-screen (diegetic) sound is portrayed the scene is enhanced to give the viewer a better idea of how they should view the film.

Sound in movies can help the audience interpret meaning by signaling mental cues to help us form interpretations about a scene. Sound in movies often finishes what our eyes expect to see or expect to happen next. Sound can also pull a scene together and help our mind make sense of what we are seeing. The source of a sound means the location from which a sound came from. Diegetic sound refers to sounds within the world of the movie. These sounds are heard by both the actors and the audience. Diegetic sounds give the audience awareness to spatial and temporal dimensions within a scene. Diegetic sounds are sources that are understood to exist within the space presented by the action of the film. An example of a diegetic sound would be a baby crying

In this scene, diegetic sound, sound that can be heard by the actors, is a prominent element. Dialogue is heard in this scene, and is exchanged by a few of the characters (Ethan, Marty, Officers and the lady on the floor).

The director also uses audio to enhance a scene. Using digetic and non-digetic sounds, he uses a range of digetic sounds for example the crickets and the ominous music for non-digetic sound. The audio is placed in very specific places for example when they show a close up the dead girl a sound of what is presumably a machete is played, this depicts the girl was killed with a

The three basic categories of sound are dialogue, sound effects and music. Dialogue is the conversations in the film that are the characters that further the development of the plot of the movie (Goodykoontz & Jacobs, 2014, pg. 202). Sound effects are used in the film to create realism while keeping the story interesting to maintain the viewers on the edge of his or her seats. Sound effects could also include diegetic or non-diegetic sound. Music is the sound used to help tell or enhanced the scene. It also makes the movie more exciting and upbeat.

The movie opens with footage of the 1994 Los Angeles riots, then transitions to the childhood of the narrator of the film, a Mexican-American girl named Eva. It shows how racism and gang violence has shaped her life, with her father being arrested for a crime he didn’t commit and being shot at and beat up among the various examples. We then meet Erin Gruwell, an enthusiastic young teacher, whose class is comprised of Eva and other “at risk” teens. Gruwell has difficulty getting through to her students, who self-segregate into racial groups within the classroom. Many students stop attending class when she forces them

Viewers of popular film often give little thought to the deeper, underlying themes within the narrative. Analysis of the film and knowledge of the cultural issues represented can be important for increased enjoyment, understanding and a wider awareness of society. Bridget Jones’s Diary (2001) (BJD) is a dry humoured, reality based, romantic comedy about the life of a single woman who is searching for a partner. Men in Black (1997) (MIB) is a fantasy science fiction film where agents protect the earth from extra-terrestrials. Although Bridget Jones’s Diary and Men in Black seem similarly light, comedic entertainment with customary conflicts, they differ in their approach to racial and feminist issues.

The following extracts introduces us to the links between film and music, providing examples and research about how both factors intertwine to create a full experience, visually with film, and emotionally with the music that goes with it.

There are three different types of sound within films – diegetic, non diegetic, and internal diegetic. Diegetic sound refers to everything the audience and the characters hear within the film – music, dialogue, and sound effects. Non diegetic sounds or sounds that would not naturally be heard within the scene, such as music that the characters do not hear only the audience. The third sound is internal diegetic, it would be like a single characters thought that only they and the audience can hear, no other character can, hence the word internal. These three types of sound help the director to influence the tone of the scene. The same sound collaborator, Craig Henighen, was used for both films. Director Akira Kurosawa said, “Cinematic sound

4. Diegetic sound: Diegetic sound is a sound that is visible or implied in the film, or in other words, it is any sounds that present in the film’s world. It can be the voice of the actors speaking to each other, sounds come from the object on the screen, or music that comes from a sound system or orchestra. Also, Diegetic sound is known as actual or literal sound. Besides, diegetic sound can be either on screen or off screen base on its source within the frame or outside the frame.

The sound used in the film is comprised of a mixture of diegetic and nondiegetic music. The music was also composed entirely of instrumental sounds.The sound is dependent on the time of the footage of the film because it then defines what sound is diegetic or not. This allows for the tone of the film to be changed. The fluctuation of the tone of the sounds depicted somber sounds to show the realism of Timothy’s death, and joyful and uplifting sounds when at times when Timothy is alive and shown in the film. In turn, this changes the meaning of the film by influencing the audience to feel a certain type of way. By the use of a combination of the long take footage of shown in the film, and sound, we can further see a change of the meaning of the film. For example, when Timothy was informing us on the bears, and all while taking a long shot of the film, we can see

When exploring the significance of sound upon a film's thematic concept, one must identify the fundamental components of the individual film score and its relationship to the development of the plot. Sound has been a dominant feature of the audience's cinematic experience from early in the art form's history. Initially existing as a simple piano score that was used to assist in the realisation of certain on-screen emotions, the use of sound has been greatly developed and is now considered as "one of the richest sources of meaning in film art." (Giannetti, 2002) This is evident through the incorporation and combination of sound elements such as music, dialogue, sound effects and silence that relate directly to the emotions presented