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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). 

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.

After all the hardship endured in the making of my first film, the press showing was a disaster. The critics were determined to pan it. The members of Poland’s nomenklatura (communist establishment) were starting to get rich quickly at this period, and Knife was, among other things, an attack on privilege. Whether motivated by spite or political zeal, most critics vociferously demanded to know what the film was about. My “cosmopolitan” background was grist to their mill.

Some eighteen months later, sensing the political climate had changed, I decided to try again with the Ministry of Culture. I tinkered with a few scenes, adding some snippets of dialogue designed to impart a trifle more “social commitment,” and this time the screenplay committee passed it for production.

Yet in Greenaway’s world, systems or codes of any kind are treated as inadequate, hopelessly subjective fantasies that deserve contempt, not respect. Categorical thinking claims it makes the world easier to understand; Greenaway maintains it distorts the world by forcing it into unnatural categories. Many of his films satirise catalogues and organising principles, firstly by presenting absurd examples of each, and secondly by structuring events around them

Though her symptoms—excessive attachment to her sister, revulsion toward men and the concomitant rejection of “mature” sexuality, hesitancies about food—can all be found in any given textbook on psychopathological disorders, Polanski refuses to argue her condition in a Freudian key. Averse to embracing psychiatric dictates to explain human behavior, Polanski is more an observer than an analyst, and his face slap to the claims of the therapeutic could not be more blunt.

Since there is no past, Repulsion is filmmaking strictly in the present tense, as Polanski’s up-close camera invades the dark, cramped spaces Carol inhabits. She quickly transforms the apartment into a quasi tomb by closing the curtains and battening down the hatches, literally.

Citizen Kane