Comparing My Darling Clementine And Once Upon A Time In The West

Lighting and sound are another two key factors that can be manipulated to heighten the dramatic value of the scene. With the opening of the first sequence, the musical motif that accompanies Abigail throughout the film begins to play as she is introduced. It follows her emotions, the tempo increasing as she hurries to ready herself and creep out of the house. As the forest comes into view, the eerie surroundings are complemented by the change in music.

The muddled and messy sounds from the violinist escalated to a strong and beautiful melody, in sync with the tension built in the story. The effect of sound and tune on character emotion within the film complimented the drastic advance of excitement and tension throughout the dance from Harrison and his partner on stage. Not only was it the sound of the radio handicaps that affected the build of tension, but it was also a compilation of background noises which influenced the direction of the reader's attention at key moments throughout the film. During the brief cuts to Hazel Bergeron washing the dishes the sound created by the running water drowned out the news reporter and the entire clip of Harrison's display on stage. Hazel was oblivious to the situation presented, thus demonstrating her lack of awareness throughout the entire film.

He is able to use these parts to manipulate the audience’s emotions. The music playing from the car is an on-screen sound. As the man gets attacked, the volume increases. The sound helps intensify the scene that has been created by the film’s visual elements. The audience then subconsciously forms ideas, opinions, and feelings about what they are seeing. The viewers develop scared feelings as the scene intensifies to the happy upbeat tune. The increasing volume of the cheery song reflects the violence and the sinisterness of the scene. The song stops with the slamming of the car’s driver-side door as the man is abducted. There is a moment of silence and then a new song abruptly entered the silent scene. The music is non-diegetic and is an offscreen sound. The song is screechy, high pitched, and jagged sounding at first, continuing the anxious and scared mood. The song shifts into a sort of soulful hymn. The tone shifts along with the song. The audience begins to feel relieved and relaxes to the peaceful song.

In the rehearsal scene, there were references to the sound technician. This was a Brechtian technique of the audience being aware of a play within a play. Most sound effects were specific and recorded, like the city hustle and bustle, the screams and the voices when reading things aloud. However, the one sound that stood out to me was the music box. Being the only live sound we hear, relates to the naturalism of the nursery and how Jennet Humfrye’s love for her son is infinite. Music boxes were commonly a gift for a child, or a token of love for a partner in the Victorian times. The idea of love is additionally demonstrated when Kipps is reading a letter alongside Stella. This shows his remembrance of her voice and how much he misses her. The ticking of the clock at the beginning of the play reminds the audience of a countdown, a signal that something is about to happen. This relates to the rhythmic rocking of the chair, similar to a heartbeat, echoing around the house, resembling Nathaniel’s pulse. This again adds humanity to the nursery. When Kipps stops the chair from rocking, everything is silent which signifies the death of Nathaniel and how in reality he is gone. Contrasting to the naturalism, there is repetition of the Woman’s screams. These created an abstract soundscape that made the audience feel frightened, mimicking the discomforting feeling of the horror genre. The ‘Pony and Trap’ sounds came

Looking at the surface of the films The Fox and the Hound and Monsters Inc, we probably would not see any similarities whatsoever. This is hardly the case once looking past the animated animals and monsters. The Fox and the Hound, which was released in 1981 by Disney, portrays a fox named Tod and a hound dog named Copper. Even though they grew up together, they are socially supposed to be enemies. They do overcome this stereotype at first as they become best friends and vow to forever. In the end of the film they stay friends, but end up living separate from each other. Each one living in the world that is socially acceptable to each animal. Similarity, Monster Inc., which was released in 2001 by Disney and

Herrmann utilized a unified score that is constantly dissonant. Although there are variation of mood from loving sound to the terror of the shower, all the cues are observed to be used with minor seconds and major sevenths. He also uses distinct sound using the “percussive-sounding strings” through deploying microphone close to the instrument to demonstrate the sound to be harsher, which can be seen as some of the new approaches that Herrmann accomplished through this film as the start of “a New American Era”. In addition, new approach in film scoring can be seen through the lack of contrast in a cue. When a cue starts, it stays consistent and repeats the mood with no variation where there are absence of shifts within a cue. Moreover, descending and ascending chords of the Transition theme have an aloof characteristic with no display of emotions. This in return provides an overall disquieting mood to the story. During the Norman’s story, Hermann employs ostinato to maintain tension and discomforting sound of melody.

Later on in the day, after a field trip to the local planetarium, Jim meets a group of kids that are troublemakers and want to fight with him. As a conversation begins, music also begins in the background, yet quickly changes when the gang wants trouble. The music becomes fast, louder, and more suspenseful. The style of mickeymousing, "type of score [that] uses music as a literal equivalent to the image" (Giannetti, 231), was also used in this same scene. Jim and the character of Buzz are fighting each other with knives, and at every jab of the knife the music changes and becomes more dramatic and even more suspenseful. It is said that, "music can serve as a kind of overture to suggest the mood or spirit of the film as a whole" (Giannetti, 233). Later on, James Dean's character is asking his father for advice, and the music becomes quiet, slow and mysterious. Another scene where the score plays a vital role in the atmosphere is during an argument with Jim and his parents. Jim and his father are yelling, and when Jim grabs his father as if to hit him, the music turns scary and very intense.

While the West Side Story by Arthur Laurents, and The Outsiders by S.E. Hinton, had similarities it also has differences. In the West Side Story by Arthur Laurents, the literary element of Rhythm and Rhyme was used to demonstrate how the Jets always stick together. “You're never alone, You're never disconnected! You're home with your own: When company's expected, You're well protected!” The Rhythm and Rhyme pattern shows how the song goes such as the endings of, “alone”, “disconnected”, “own”, “expected”, and “protected”.

West Side Story is a musical that includes gang violence and full-hearted relationships Between Tony, the ex leader of the Jets and Maria, the leader of the Sharks sister. It all takes place in Verona, a township in New Jersey. The movie starts with an Ariel view of the city shifting from site to site showing off of the pleasant areas. The movie goes on to show that there is a gang of white boys that call themselves the Jets, the Jets have a rival gang made up of Puerto Rican guys that go by the name of the Sharks. The jets are informed by the police that if they cant get along with the other boys, they will all be taken to jail. Obviously none of them want to go to jail so they come up with an idea for a settlement, a sort of agreement with the other gang. This agreement is a “Brawl” a fair even fist fight between the toughest guys of the two gangs, whoevers gang loses the fight has to leave the area. Tony aka Richard Beymer and Maria aka Natalie Wood are in an unbreakable relationship

Joseph Archer Professor Stefano Gidari November 11th 2014 Movie Comparison The movies The Dreamers and Harold and Maude can be compared and contrasted in a couple different ways. First, both of the movies explore the concept of free love. In Harold and Maude, Harold and Maude meet at a funeral one day and become fast friends. Eventually their relationship turns romantic and Harold asks Maude to marry him.

When the Sun was A God and With Fire and Sword are two films directed by Jerzy Hoffman, respectively in 2003 and 1999. The films were based on the historical events, illustrating the common matters of individuals’ desire to overpower others with wealth, power, and control in order to take over the throne and land. Both films took place in different settings – Piast dynasty era and Khmelnytsky Uprising era – but they do share some similarities and differences. The reason for why I chose these two films to compare and contrast was due to the fact that they share certain aspects that set the films alike and apart from one another. The aspects are: greed, friendship, loyalty, women, and love.

Another aspect of sound in this film was how it affected the story. By using sound dramatically in certain parts and not using it at all in other parts, sound gave this story an entity of its own. For example, during long stretches of film with mostly dialogue, there was no music played in the background, only a phone ringing in the distance, or the men's voices during their deliberation. These long silences also took place during editing shots of the town and images that surrounded this German city. This dramatic difference in sound was a revelation of how mood can be made by images and sound put together to make an incredible component.

Gordimer's "Once Upon a Time" develops characters secondary to the setting, which it's plot and characters revolve around, while Maupassant's "The Necklace" switches the position of these two elements.

Noise is possibly one of the most important parts of sound in this film. There are so many different motifs, the most prevalent being the clicking sound. The film opens with the credits and the ticking of clocks. The ticking of the clocks is both diegetic and nondiegetic; At times when the clocks are shown onscreen, it is obvious that those sounds are heard by the characters whereas often the ticking is used as not only a reminder of time, but also

The song ends abruptly and as it does it links with the editing as "Paris, 1900" appears on the screen to inform the audience of the time and place it is set. This shot then dissolves into a much darker shot, informing the audience that maybe this film isn't about the celebration of love, and that something sinister is going to happen, the sound also links well with this as it is quite melancholy, this song signifies to the audience that the story beginning to unfold is a tragic one. The character singing is directly addressing the audience as he narrates the story through song, and the contrast between the sound here and the sound in the previous shot is extremely noticeable as it is much more depressing. It is known as parallel sounds as it matches the action in the shot and emphasized by the morose characters and the shadowy lighting.