Sound analysis

-

Sound analysis: blog tasks

1)Find a film clip on YouTube that uses sound in an interesting way. Analyse the use of sound, making sure you use the key language we have learned about sound in film:

  • Diegetic and non-diegetic sound
  • Parallel and contrapuntal sound
  • Sound bridges
Remember to discuss/analyse all the different types of sound present in the clip:
  • Music
  • Dialogue
  • Voiceover
  • Sound effects

BABY DRIVER

https://youtu.be/6XMuUVw7TOM

Diegetic sound - Only the driver can hear the music and the audience.

Non-diegetic sound - The other characters are unable to hear the music.

Parallel sound - The sound matched the scene when the actual car chase occurred since it was hasty and action driven giving it that suspense it needs.

Contrapuntal sound  - The sound did not match the beginning scene since you wouldn't expect that song during a money heist.

Sound bridge - I don't think there was any sound bridge but it did seem like it during 2:10.


Dialogue - Very little dialogue used between the characters mainly because the director focused on the action part of the scene.

Voiceover - Mainly singing by the main character and the talking between the characters.

Sound effects -
  • Police sirens
  • Shouting
  • Gun Fire
  • Alarm
  • Cars
  • Car door shutting
  • Cars swerving
  • Cars crashing
  • Cars honking

Comments

Post a Comment

Popular posts from this blog

Postmodernism in music video: Blog tasks

-
  Media Magazine Theory Drop - Postmodernism 1) How does the article define postmodernism in the first page of the article? If modernism is beginning to question authority, then postmodernism is making fun of authority to its face. Postmodernism takes this concept of questioning traditional structures, representations  and expectations and pushes things a step further. 2) What did media theorist and Semiotician Roland Barthes suggest in his essay 'The Death of the Author'? In 1967 the French literary critic Roland Barthes released his essay The Death of the Author. In it, he challenged tradition when he said that a writer’s opinions, intentions or interpretation of their own work are no more valid than anyone else’s. To give a simple example, this means that just because Ridley Scott thinks Deckard is a replicant, doesn’t mean that you, the viewer, have to think  this if you don’t want to. Readers are  free to interpret a work however they choose, irrespective of what the cre
Read more

Summer Project: coursework planning:

-
Summer project tasks 1) Research: TV crime drama extract analysis  How To Get Away With Murder: Narrative and genre In terms of the tv crime drama genre it is mainly viewed by the older generation however because the show involves a narrative of law students it gained a lot of attraction from college/law  students across the world, which skyrocketed the viewer age.  show starts off with an introduction to a criminal law course, throughout the seasons the audience is able to identify the irony between the law class and what they have to go through in order to actually get away with murder. The narrative is then communicated to the audience through varies flashbacks at the start of each season and working its way through to the very last episode of the said season to showcase the whole event in one piece rather than in fragments. By doing so audience are left into a cliffhanger each episode causing them to binge watch the show as the crime drama genre has always been some what a game the
Read more

The Specials - Ghost Town: Blog tasks

-
  Background and historical contexts 1)  Why does the writer link the song to cinematic soundtracks and music hall tradition? Formed in 1977 and arguably the most influential band of the UK’s  2 Tone Ska  scene, “Ghost Town”, a skewed ska oddity, was written by Jerry Dammers, The Specials’ keyboardist and released in June 1981. It was their last song before splitting up and reforming as The Special AKA and stayed at the top of the UK charts for three weeks. It’s an odd, eerie song, nodding to pop convention and sitting wilfully outside of it. It’s included, in passing, in Dorian Lynskey’s beautifully written book on protest songs,  “33 Revolutions Per Minute” , but unlike the band’s “Free Nelson Mandela” does not merit its own chapter. Perhaps because “Ghost Town” cannot be “placed”. It’s not explicitly against any one event. It does not exhort its listeners into any one particular political view. It is not part of any one social movement for change. It is, rather, a stealth protest s
Read more