This would suggest that diegetic music is processed on the conscious level while nondiegetic music might remain on the subconscious level (Gorbman, 75). Although many people might be unaware of these two types of sounds while screening a film, it effects their reactions, interpretations, and moods significantly. The role of music in a motion picture is in direct relation to the level of ambiguity in a particular visual scene. The more ambiguous a scene is, the more filmmakers rely on their composers to develop a musical score that interprets the meaning of the scene for their audience. Therefore, music provides a cue for the listener to tell... ... middle of paper ... ...t in a film and exactly how they felt in that moment.
Both types of documentaries use artifacts, such as photographs, that pertain to the subject in their film and are spliced from one frame to another in the editing process, to force the point of view that the director wishes to portray onto the viewer (301 & 306). This is the reason that Phillips refers to documentaries as ‘Mediated Reality’. A documentary film is biased and cannot be objective. It may be perceived as truth by viewers, but there is a difference between the genuine footage that was recorded and the censored scenes that were developed in editing.
Despite visuals and auditory means evident in films, scholars do not adequately examine the two means as they work with each other. This could be partly due to the fact that film is largely seen as a visual medium (film music in minor page 8). Music in film is often viewed as subordinate to the visuals. Marlyn Boltz addresses the interaction between the two media and this reveals great potential in this field,
Editing in films binds the narrative by assembling sequences, layers of imagery, the story, music, effects and the pace to shape the story into a final product.Editing in music videos is done to setup a mood, feeling and emotional state which disconnects the audience from the traditional narrative. There may be or may not be a story, but the main focus of music videos is ... ... middle of paper ... ...have already begun to see – more as a means to playful firing visual fascination. The opposition of realistic film visual culture and non-narrative montage tradition has begun to breakdown. It is leading towards hybridization of realistic and stylized editing. Thus at one extreme there is a montage phenomenon of music video and on the other hand the editing technique of traditional cinema comes together.
From the use of actual moving film in their stage performance, to exploring the different elements of film and exploring ways in which those same principles can be adapted unto the stage. Frantic Assembly and Forced Entertainment make claims of creating innovative theatre that offers to lure and shock spectators. Their works demonstrate that they are both in constant exploration to push and break the boundaries of how theatre is viewed today. Both Frantic Assembly and Forced Entertainment have always created theatre that is influential and relevant with the times, so it comes as no surprise that the use of film has been a big influence on the their works. I think the work has political and social concerns that emerge from the process and from the way that we work rather than political and social concerns that are bolted on.
Re-arranging and deconstructing sequences affects the way the story progresses and also it's characters. Filmmakers who decide to introduce a non-linear narrative in their work, have the ability to adapt a films plot in order to produce a new beginning, middle and end. There are various techniques which are commonly used in a non-linear narrative to create states of confusion like, for example, the use of flashbacks, hallucinations, memory loss, amnesia, dream states, memories and the collision between fiction and reality. Fabula and syuzhet are also employed in narratology, they describe narrative construction. The fabula is "the raw material of a story, and syuzhet, the way a story is organized."
By employing the ideas associated with narrative form I n their films, directors are able to put forth their creative vision without confusing or offending the audience with a story that is difficult to digest. Viewers are often accustomed to seeing a certain type of film, which has a particular and distinguishable style. Although this form can be broken down into basic components and “acts,” filmmakers often choose to integrate these fundamental aspects in innovative ways. Peter Weir and Andrew Niccol, the director and screenplay writer of The Truman Show, intertwine the basic narrative form with more experimental ideas. He creates the concept of a television show within a film and employs flashbacks and less straightforward timelines in order to advance the basic principles of the three-act structure.
The development of genre films is not entirely the prerogative of Hollywood. It is more the desire of the public viewing audience to have an idea of the type of film they are about to see. The western, musical or the gangster film are examples of genre films. These categories of films all have similarities in the ways in which they are made: musicals end happily; the westerns will all have the final shoot out; and the gangsters will all be overcome by justice or meet their own demise. The reason for the consistency in the films is the publics desire to make an informed choice not and not to go in blind.
Comparison of Ethan Hawke and Kenneth Branagh's Versions of Hamlet Modern day directors use a variety of methods to hold ones interest. Ethan Hawke and Kenneth Branagh’s created versions of Hamlet that shared some similarities, but ultimately had many differences in respects to an audience’s appeal. An appealing movie is one that has an alluring ambiance and an intellectual stimulus. With these two movie versions, a setting and a mood forced an audience to acquire specific emotions, but Ethan Hawke’s version generated emotions more strongly and effectively. Also, these movies had extremely different uses of music and visuals, but both movie versions incorporated them well for the ambiance it tried to obtain.
As seen throughout the film, Godard uses these titles as a device to: Introduce and set off a given scene from the surrounding context of the narrative, tell viewers what it is they are about to see, remind viewers of the filmmakers intrusion on the narrative, and emphasize the way the filmmaker has chosen to shape and organize the structure of the film. Filmmakers like Jean Luc Godard employ the devices of the self-reflexive mode of screen reality because they do not value the mode of realism or expressionism to adequately convey some social truth or ideal. In choosing a didactic style of representational reality, he sought to guide and direct the viewer through the key representations and dialogues within the film. Godard believes that it is necessary for the audience to read the film as it must be without misinterpretation and as such has employed didactic self-reflexive devices which facilitate a clear reading of the film. The film is the message for Godard.