It is predominantly made up of symbols in the form of sounds consisting of pitch, melody, rhythm, tonality, harmony and timbre. All of these components are implements used to present musical concepts and project emotion. There might not be a precise formula as to which sounds produce exactly which emotional response, but there is a long history of devices and empirical techniques originally learned from both trial and error in conjunction with observation and study as to how best to elicit a psychological response in the mind of the listener. The major requirement for film music has been that it serves the purpose of the picture and is effective in fulfilling the director’s vision. It can be used to enhance the plot, reflect the theme and enhance the mood.
The horn section in Boplicity is nimble and soft, not like the brassiness of a hard bop recording. At :59, a contrast from delicate ensembles of the horn moves to a tone that is a bit more adequate from the saxophone; the baritone saxophone exhibits a poignant sound. The melody and arrangement of Boplicity is moderately intricate. The horn ensemble is rich and heavy in texture. Boplicity exhibits an improvised sound, although its significance is on the arrangements.
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.
Due to the incredible functions of music, they successfully turned the movie The Hunger Game into a more outstanding classic. There is no denying that the quantities of the numbers in the film are not in a great amount; however, as long as the music is put into the perfect place, the effect is beyond the viewers’ imaginations. We can experience this amazing sentiment by combining the musical functions which are categorized in three types such as the action, emotion, and the large function from several scenes. The lullaby Deep in the Meadow is an affecting song that manifests the musical function, especially the emotion classification. The particular operation of the lullaby is to reflect and evoke emotion.
A film relies on the way directors have adapted their visions to the screen. When film first began there became a standard on how the film was filmed, and how the story was told. This led to the beginning of alternative practices in cinema. Stylistic devices that are found in alternative cinema led to the deconstruction of the classic Hollywood practice. These alternative film styles come about because of the extension of meaning.
As the piece went on, I realized that trombones and french horns were doing a wonderful job with their tone, dynamics, and articulation. However, I felt that the flutes and clarinets we drowned out, and they needed to play out more. Additionally, I felt that band was together for most of the performance. Still, it felt like the song was dragging along, I felt that if they had had a little faster tempo the song would have sounded better. The percussion sometimes overpowered the rest of the band, but they played with almost perfect dynamics, and their rhythms were clear, and correct.
Cinematic Interpretation of "Stepping Razor Red X": the Peter Tosh Story Films are designed for numerous purposes, some entertain, frighten, enlighten, educate, inspire, and most make us think about the world we live in. This paper will be focused on the cinematic interpretation of the film "Stepping Razor Red X", the Peter Tosh Story. The makers of a film from the writer, director, cinematographer and the art director, design, and conceptualize what they want the viewer to see. Movie makers have agendas. They get their ideas across by using cinematic techniques and styles which make us view a certain subject in the light that they put it in.
Feste in William Shakespeare's Twelfth Night In William Shakespeare's comedy Twelfth Night, it is ironic how many times the fool is said to be dishonest, when, in fact, his role proves entirely opposite. Though sometimes the characters do not realize his hidden messages, the reader can instantly comprehend Feste's figurative language, which is evident in every scene in which the fool appears. Whether he is singing to Orsino, arguing with Malvolio, or playing around with Viola, Feste always manages to sneak in a few symbolic foretokens before his exit. His keen eye and fast wit help him to actively partake in the portrayal of the story, however, the fool is merely present to express that which cannot be fully expressed through the lines of other characters. Through his songs, witty jokes and puns, Feste proudly and efficiently reveals truth throughout the play.
Every image and sound is chosen deliberately by the director to signify specific things. Looking further into this, comparing both Zeffirelli and Luhrmanns introduction, we can see the different uses of cinematic technique used, and the particular meaning that comes across from it. I can already see from the introduction to the film that Baz Luhrmann is an adventurous director. He uses different cinematic techniques and although the genre of the play is a romantic, Luhrmann displays it as a traumatic story. However, from Zeffirellis’, it is more traditional, filmed using the original costumes and settings as at the time of when the play was being written.
Sometimes the characters do not seem to realize or understand his hidden message, the reader can instantly understand Feste's use of structure, through words like “dissemble” (4.2.4) which means to disguise, which in fact is present in every scene which he appears. From singing to Orsino, or arguing with Malvolio, to messing around with Viola, Feste always manages to slip that hidden message before he makes his exist. His enthusiasm is what helps him to actively fit in to each characters soundtrack of life. However, he is merely present to express that which cannot be fully expressed through the lines of other characters. Through his songs, witty jokes, Feste proudly and efficiently reveals truth throughout the play.