The beautiful imagery is matched well with the images and the editing to provide an incredible viewing experience. In A Clockwork Orange, Kubrick does virtually the same thing with music, only in a darker way. In the film, Alex is given a treatment that will make him ill when confronted with violence or sex. Unfortunately for him, the films he is forced to watch are scored with Beethoven’s “Ninth Symphony”, which is Alex’s favorite music. A sense of irony and empathy is created in that by Alex trying to take the easy way out, he is forced to give up the three things he loves most: sex, violence, and Beethoven.
Filled with lust, greed, and corruption, the 1996 film The Crucible, synchronizes the soundtrack with the actions and images displayed on screen in an unusual, yet effective manner. The film’s plot dictates the antagonist, Abigail Williams, as a villainous manipulator and the protagonist, John Proctor, as a heroic honest man; however, the score depicts a paradoxical story because through the use of Abigail’s leitmotif, the audience conforms to a sympathetic and pitiful attitude towards Williams. Thus, portraying Abigail’s character as a misunderstood female lover. The composer, George Fenton, successfully integrates the musical texture of woodwinds and strings into various scenes in order to cast a suspenseful, yet frightening mood to the audience
With a judiciously supervision from the director, numerous factors such as location and setting, costume and visual design contribute to a successful plausible film. Francis Ford Coppola relies heavily on the personification element of the film to establish a deep emotional connection with the viewers. His two films, Bram Stoker’s Dracula (1992) and Apocalypse Now (1979) drawn the viewers into the protagonist’s point of view; making it exceptionally personal. Coppola opts to choose the narrative structure, to create a sense of eyewitness mannerism of the events of the story to the viewers. The narrative structure is beautifully exemplified in both films, where the protagonists (Jonathan Harker in Bram Stoker’s Dracula and Benjamin Willard in Apocalypse Now) sway the viewers through their constant subjective narration.
But the majority of the movie was shot in a way as to lead us to believe that it is Hugo Cabret’s story. Unfortunately it is not. He is merely a medium Scorsese uses to divert one to the history of cinema and make one admire their dream like quality. Here, he resorts to the aid of technology, and the result is quite stunning, one has to admit. The drawings which become animated when the cabinet falls from Isabella’s hand, letting the papers fly, and the dream within a dream sequence, are all effective in capturing the dream like quality of films that fans of Melies admire.
It often gets underrated as a predominant psychological force as it is employed subliminally by filmmakers under their narrative so that their audience is unaware of its presence. Nicholas Cook, author of Analyzing Musical Multimedia, states, “words and pictures deal primarily with the specific…while music deals primarily with responses--that is, with values, emotions, and attitudes….”(22). However, there is certain music that is suppose to be heard by the audience as part of the cinematic diegesis. All sounds that are understood by characters in the narrative are referred to as diegetic; however, those sounds that are not part of the diegesis are referred to as nondiegetic. This would suggest that diegetic music is processed on the conscious level while nondiegetic music might remain on the subconscious level (Gorbman, 75).
A creative producer is usually "a powerful mogul who supervises the production of a film in such exacting detail that he was virtually its artistic creator." (Eyman p. 121) In this period, Selznick's style was remembered best by his epic length movies in which he paid special attention to detail. His films catered to the female market but also had potential to cross over to the male segment. Selznick was "increasingly becoming aware of the commercial value of his name." (Fenster p.36) He decided to repeat the formula that worked well in Gone With the Wind and made a decision to purchase a war novel/diary from Margaret Wilder.
As well as starring in this brilliant movie, Gene Kelly teams up with Stanley Donen to make their mark in film history. In my opinion, what set the stage for the level of entertainment that this movie contains is the opening scene. The opening scene set the role of sarcasm in the movie and gave the movie an immediate sense of humor. Four individual parts of movie making come together in this film to create a dynamic opening sequence. The basic principles of sound, editing, mise en scene, and cinematography collectively give this opening sequence a memorable quality that is without match.
The solo soundtrack type of music used creates a melancholic tone; the plight of Sheikh Hosny has been narrated. The director of Kit Kat Film, Mr. Daoud Abdel Sayed has used soundtrack composed by Rageh David and Sayed Mekawy to connect the characters throughout the play. Use of instrumental music creates a living environment. The soundtrack connects shifting scenes, from sad tales of a frustrated blind man who has lost his wife and sold his fathers’ house to beautiful lively story in the city. The music used suits the timeframe and events of the movie.
Alan J. Pakula’s “Klute” is widely known in the music industry for its uncommon use of musical instruments in the non-diegetic music during mysterious parts of the thrilling movie. Alongside, the frightening tune, a pattern of low-key lighting mixed with not revealing the identity of the man whom Bree is fearful of and who Klute is looking for, is evident whenever the music starts. Combining the two patterns with the non-diegetic music gives the audience a sense of mystery, thrill, and fear as they respond cognitively by trying to uncover who is after Bree. Michael Small was the musical mastermind behind the eerie soundtrack of “Klute”, his first Hollywood film. Small elected to make his impression by streaming away from the previous uses of symphony and jazz commonly used in thrilling movie soundtracks, to utilizing a chamber orchestra.
In film studies, auteur theory amounts to a claim that the director of a film, despite the myriad talents that go into creating it, is in some sense the film’s primary author (Leblanc 19). For cinemaphiles devoted to the work of Hitchcock, Kurosawa, or the Cohen brothers, this claim feels both natural and obvious, given what they perceive as the common formalistic, stylistic and thematic elements in the films attributed to any given director. For film theorists, auteur theory similarly provides a convenient conceptual framework with which to parse and analyze these elements between films (as opposed to within the same film). For the average movie-goer the attribution of a film to a director may provide a helpful variable in the complex calculus of what film to spend their next $15 on. Yet to what extent does auteur theory accurately describe either the actual process of filmmaking or the final result?