Waxman used some of the elements from the previous year's Oscar-winning Sunset Blvd.
-- mystery, suspense and romance. There is extensive use of strings and alto saxophone (Fraley). There are longer musical movements in this score that feature a full orchestra and alto sax or guitar. A lengthy symphonic scenario conceived by Christopher Palmer is heard in several key scenes. Waxman created a beautiful love theme and then used jazz music style and instrumentation to make the script's ironic and cynical points. Jazz-oriented music had gained favor in the 1950s. Director Stevens hired two other composers to rewrite a few scenes in a more conventional manner to soften the hard edge in Waxman's original score (Place in the Sun, A). Breakfast
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The theme recurs throughout the film with different tempos and instrumentation to express the high drama to sad pathos in Hepburn's life (Lysy; Caps 66).
Schindler's List (1993) Music Score: John Williams Director: Steven Spielberg A key to the unsurpassed artistic quality of this film was the "passionate restraint" Williams and Spielberg used. Critics noted how the simplicity and directness in the score advanced the tangled emotions and frenzied, multi-layered activities (Editorial Review). Three main music themes were used: Itzhak Perlman's haunting, sorrowful primary theme with simple harmonic progressions to create an indelible imprint on audiences (Morita); "Remembrances" used some of the same note progressions, especially in counterpoint; "Jewish Town," the third theme, was used for workers leaving the plant and featured Eastern European Jewish rhythms, harmonies and idioms featuring clarinets and cimbalom, heavy bass rhythms, violins and woodwinds. A recorder and choral elements perform variations of the three themes throughout the film (Editorial Review). The score is somber to match the character of the film and establishes its own separate but related identity (Morita; Editorial
In the book Our America: Life and Death on the South Side of Chicago, LeAlan Johns and Lloyd Newman, as two kids grow up in ghetto, document their life from 1993 to 1996 to show the rest of the America the reality of living in a poor black neighborhood. Through vast interviews, diaries and monologues, Johns and Newman provide a new perspective on the ongoing issues in the ignorant black community; they encourage the black residents to express their point of views on gang, drug, crime, and they also address their hope. Since this book is story with long time span and fragmental writing styles, it is impossible to finish the soundtrack for chapters in detail within eight songs. Therefore, if I am going to be the music composer of the movie based on this book, I would choose eight songs for the following eight themes.
The beat and resonance of the music is very slow and soothing. It immediately sets up a sad mood. The music also manages to create a lonely and sympathetic atmosphere, which carries on throughout the play. The music only plays at significant times in the monologue as the tone of music needs to fit the mood and subject of which Doris is talking about at that moment, i.e. when Doris reminisces on the good times the music becomes lighter; but when she talks about the death of John the pace of the music slows and becomes duller. The use of music alone can form an overwhelming sympathy if appropriately used.
In the film the music is very important. At the beginning it is set at
In conclusion, by using the production elements of both allusion and symbolism; director Tim Burton has created the film in such a manner by making deliberate choices in order to invite a certain response. The film is constructed and given greater depth through the allusion to elements from other genres and ridicules the suburbia’s materialism and lack of imagination, which in turn enhances the invited response.
One of the most prominent examples of program music is Richard Strauss’s tone poem Don Quixote. This tone poem tells the story of Miguel de Cevantes Saavedra’s novel The Adventures of Don Quixote. The story of the hero Don Quixote is one of insanity and delusion that Strauss was able to depict very well. Don Quixote was a middle aged man that read too many books about knights and their heroic deeds. This is shown by three different themes given to show Don’s dreams of being a knight. Over time, he read so many books and dreamt of rescuing his ideal woman named Dulcinea from a dragon so many times that his mind was unable to separate his real life from his fantasy world. Strauss chose to depict Dulcinea with a beautiful lyrical melody while the dragon is represented by a loud, low, sustained melody in the tenor and bass tubas. Don’s victory over the dragon is shown by a victory flourish in the flute and oboe. After this melding of his mind occurs, he believes that he is really the knight Don Quixote de la Mancea. From here, he and his side kick Sancho Panza set out into the world to do chivalrous deeds. From here on out, Don is represented by a solo cello voice. When ...
...vision and music. Therefore the movie begins on a simple level. The viewer is introduced to many of the central elements of the film in a purely visual way – Donnie, his family, and the American suburbs. The music makes this an isolated and surreal presentation; the viewer sees the family from the outside before seeing them from the inside. The song also has a feeling of apprehension and of magnitude which makes what is seen seem more significant and mysterious.
the film, and talks to the director about what sort of music (styles, themes, etc.) should be used — this process is called "spotting.". The director might even have a “temp score”(a score of pieced ol...
Perhaps an even stronger testament to the deepness of cinema is Darren Aronofsky’s stark, somber Requiem for a Dream. Centering on the drug-induced debasement of four individuals searching for the abstract concept known as happiness, Requiem for a Dream brims with verisimilitude and intensity. The picture’s harrowing depiction of the characters’ precipitous fall into the abyss has, in turn, fascinated and appalled, yet its frank, uncompromising approach leaves an indelible imprint in the minds of young and old alike.
In conclusion, I have demonstrated how Coppola exploits a wide array of sound and editing to create suspense, intensity, and anxiety in the sequence to affect the audience’s emotions, using diegetic ambient sound effects, non-diegetic music, voice over and four editing types. With this sequence, Coppola has shown the savagery of war and our complicity in this violence as an audience.
... music to set the mood. When times were depressing, there would be dark and sad music playing. One example is when Tom accidently broke one of Laura’s glass figures. Laura was astonished and disappointed which made Tom feel horrible. Another example was when Laura and Mr. O’Connor were dancing, there was waltz music playing.
As an audience we are manipulated from the moment a film begins. In this essay I wish to explore how The Conversation’s use of sound design has directly controlled our perceptions and emotional responses as well as how it can change the meaning of the image. I would also like to discover how the soundtrack guides the audience’s attention with the use of diegetic and nondiegetic sounds.
...n (Director) mistakenly seems to believe can carry the whole film. On the strength "based on a true story", he has rejected attention-grabbing characters, an imaginative plot, and unforgettable villains.
...movie that I fell in love with. But most of all I love how the story line is a great overlap into the cinematically engaging movie. There is a great use of camera, timing, shots and story line that are portrayed in this movie without being too overwhelming. This allows the audience to relax during the movie and just take in the scenes as a story from reality. To this day, and even still doing this paper I still come to find different aspects of the movie that I missed the previous times I have watched it.
“Entertainment has to come hand in hand with a little bit of medicine, some people go to the movies to be reminded that everything’s okay. I don’t make those kinds of movies. That, to me, is a lie. Everything’s not okay.” - David Fincher. David Fincher is the director that I am choosing to homage for a number of reasons. I personally find his movies to be some of the deepest, most well made, and beautiful films in recent memory. However it is Fincher’s take on story telling and filmmaking in general that causes me to admire his films so much. This quote exemplifies that, and is something that I whole-heartedly agree with. I am and have always been extremely opinionated and open about my views on the world and I believe that artists have a responsibility to do what they can with their art to help improve the culture that they are helping to create. In this paper I will try to outline exactly how Fincher creates the masterpieces that he does and what I can take from that and apply to my films.