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Edward Bradley

Sound Analysis - Uses and Gratifications - 1 views

sisfilm.ning.com/...sound-analysis

shared by Edward Bradley on 12 Sep 13 - No Cached
    • Edward Bradley
      Edward Bradley on 12 Sep 13
       
      Copy this into your notes, and don't forget to cite it.
  • At the start of the clip of The Conversation (1974, d. Francis Ford Coppola), we hear, what seems to be, diagetic sound which is quite quiet. The reason for doing this is to create a Point-of-audition sound, where it seems as if we are intruding on the park and the scene. This is further emphasized with the jarring sound effect of the electronic static sound that is heard when the focus of the shot changes, which causes the audience to immediately pay attention to this sound. The purpose of this sound effect (Marwin K Kerner's Classification of film sound effects) is done to simulate reality. The sound effect here is called a hyper-real sound. This would also be linked in with the Point-of-audition sound, which gives the audience the impression that they are intruding on the park, similar to what the "protagonists" of this film are doing. The location sound of the scene (i.e. the talking and the shuffling of the feet) is done to create Walla or simply background noise. However, this walla not only has a role of creating verisimilitude, but to also block out the conversation between the two "antagonists," or the soundtrack shifts to the other conversations. This is shown at the start of the clip where the dialogue that we do hear constantly shifts until we hear the conversation between the antagonists (another example of hyper-real sound and point-of-audition sound). Furthermore, the music that we hear that is diagetic, or music from the park also adds to the sense of realism. This is shown when the heavy percussion based music of an african band blocks out the conversation between the antagonists, furthering the feeling of verisimilitude. 
  • Another area where the soundtrack is important is at the end of the clip, where the location sounds fade out, and a non-diagetic soundtrack starts to fade in. This classical piece has a slow tempo, which causes the audience to question what is going to happen next. Furthermore, the sudden rise in the loudness of this piece also foreshadows that an event is going to take place (linking it to the role of sound as a narrative device). 
  • ...2 more annotations...
  • The conversation itself also mixes in with the Electronic static sound and the background noise. This link is done to further emphasize the Point-of-audition sound that we hear, so that the audience is further drawn into the film. This is reused when the subject of the shots change to the laser sound devices, with the sound channel linked directly to what is supposedly picked up by these very devices. This effect is called a semi-sync, where the sound that we hear is actually non-diagetic sound but is synced up to the video, giving the impression that it is diagetic sound. The conversation between the "antagonists" is also semi-synced, as the audio that we hear of their conversation is from the very devices that pick up what they are saying, again showing a link between the soundtrack and the visuals. 
    • Edward Bradley
      Edward Bradley on 12 Sep 13
       
      Copy this into your notes, and don't forget to cite it.
Clare Marray

Postmodernism and Run Lola Run@Everything2.com - 11 views

everything2.com/...20and%2520Run%2520Lola%2520Run

Run lola Post Modernism Tom Tykwer

shared by Clare Marray on 08 Mar 13 - No Cached
    • Iain Williamson
      Iain Williamson on 08 Mar 13
       
      Note that the process of deconstruction or textual analysis is cahllenged because we attempt to ascribe meaning to the text.
    • Iain Williamson
      Iain Williamson on 08 Mar 13
       
      re: to Mark's point in the last lesson about absurdism...
    • Iain Williamson
      Iain Williamson on 08 Mar 13
       
      What about polysemic interpretation? If te audience ascribes meaning even if it was not intended...isn't this a valid interpretation of the text?
  • ...4 more annotations...
    • Iain Williamson
      Iain Williamson on 08 Mar 13
       
      Doesn't this suggest that post-modernism is a unified, coherent movement with clear aims and objectives? This constructs history into a narrative...always slightly simplistc?
    • Clare Marray
      Clare Marray on 11 Mar 13
       
      demo 2
    • Iain Williamson
      Iain Williamson on 08 Mar 13
       
      In itself subjective terms
  • One of the major themes in postmodernism is the recognition that modern society is disjointed and lacking in unity
  • This also shows the meaningless of life that postmodernists have seemed to observe
Iain Williamson

Flooby Nooby: The Cinematography of "The Incredibles" Part 1 - 0 views

www.floobynooby.blogspot.ca/...phy-of-incredibles-part-1.html

IB Film Pamoja SL Animation The Incredibles Pixar Textual Analysis cinematographer

shared by Iain Williamson on 28 Apr 14 - No Cached
  • Iain Williamson on 28 Apr 14
     
    Many students ask about deconstructing animation specifically. This is one of the best mise en scene deconstructions of this particular medium.
Edward Bradley

Knife in the Water - From the Current - The Criterion Collection - 2 views

www.criterion.com/...298-knife-in-the-water

IB Film_Studies Independent_Study Roman_Polanski

shared by Edward Bradley on 16 Jun 14 - No Cached
  • obsessed not so much with the big issues of the day as with the quirks and backwaters of human nature.
  • It is an exercise in the Absurd and the surreal that suggests the hostility and suspicion with which outsiders can be regarded like the two men in the film who emerge from the sea carrying a large wardrobe. “I wanted to show a society,” said Polanski, “that rejects the non-conformist or anyone who is in its eyes afflicted with a moral or physical burden.” Two Men and a Wardrobe marks several other themes the director would continue to explore in future films––relationships between people, claustrophobia, scorn, deceit, violence, and humiliation.
    • Iain Williamson
      Iain Williamson on 18 Jun 14
       
      Those last points in this paragraph are very rich for exploration. Could they form conceptual lenses with which to structure the Independent Study?
    • Edward Bradley
      Edward Bradley on 16 Jun 14
       
      Focus of film involves psychological and personal issues.
    • Iain Williamson
      Iain Williamson on 18 Jun 14
       
      So are you going to mention Wajda as a pioneer who led to Polanski? Did Polanski deliberately avoid the same subject matter and approach shown by Wajda?
  • ...11 more annotations...
  • The solitude, or rather isolation, that envelops so much of Polanski’s early cinema is seen again in Knife in the Water. He told The New York Times Magazine in 1971: “What I like is a realistic situation where things don’t quite fit in. I like to begin with a mood, an atmosphere. I begin to people the atmosphere with characters. When I thought of Knife in the Water, I thought, first of the north of Poland where I used to sail and of a theme that wouldn’t involve large numbers of characters.” In Knife in the Water, the Polish lake district appears utterly uninhabited. Not a single other human being even slips into the frame. So, despite the immense skies and vast stretches of water, the three characters remain trapped in a hermetic, Sartrean huis clos.
  • Knife in the Water focused on the concept of non-conformity, on the subtle battles that erupt between the haves and have-nots. Most of the film’s witticisms are at the expense of the privileged, even pampered married couple, the prosperous “Establishment” in a Poland where most people were still struggling to cope with everyday poverty. More intriguingly, Polanski omits all reference to World War II, marking an escape from a past that obsessed Wajda and the somewhat older generation of Polish filmmakers. The youth in Knife in the Water (who Polanski considered playing himself) is a restless spirit, reluctant to accept orthodox habits, and his exit from the film, skipping nimbly away across the floating logs to the unknown promise of the mainland, confirms his survival instincts.
  • surrealist
    • Iain Williamson
      Iain Williamson on 18 Jun 14
       
      Surealism seems a common trait associated with Polanski's work.
  • Knife in the Water, Polanski’s maiden feature would define his maverick status once and for all. Polanski’s personality stamps every frame.
    • Iain Williamson
      Iain Williamson on 18 Jun 14
       
      This suggests that the writer favours the auteur theory...
  • One should not, however, forget the contribution of Jerzy Skolimowski,
    • Iain Williamson
      Iain Williamson on 18 Jun 14
       
      However, this reatains the caveat, which stem frm the form wars of the 70s and in particular, the Kael/Bogdanovich debate.
  • These elements work in alliance with the film’s dialogue time and again.
  • These elements work in alliance with the film’s dialogue time and again.
  • These elements work in alliance with the film’s dialogue time and again
    • Iain Williamson
      Iain Williamson on 18 Jun 14
       
      Is this metaphorical style used in other Polanski fims?
  • ith Michelangelo Antonioni, Claude Chabrol, Louis Malle, and with Central European directors like Miklos Jancso, Jan Nemec, and Ewald Schorm
    • Iain Williamson
      Iain Williamson on 18 Jun 14
       
      This would offer alternative comparative analysis if you choose to do only 1 or 2 Polanski texts.
  • chamber cinema,
    • Iain Williamson
      Iain Williamson on 18 Jun 14
       
      Worth researching this term further...
  • And at every turn, the weather dictates the fickle mood. The desolate horizons in every direction. The waters of the lake, now placid, now whipped into irritation. The glaring sun at noon. The milky light of a summer’s evening. The dark, ominous massing of clouds.
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