Assignment David

The elements of sound in the Church Fight Scene are expertly used to convey a comedic and funny take on an extremely violent and harrowing scene, the loud chaotic mosh pit of sound, dialogue and non diegetic music couldn't be anymore different than Children Of Men's realistic haunting choice of music and sound. Firstly The constant playing of upbeat high tempo adrenaline fueled rock music synergises with the films overall funny take on spy movies as a whole and does so by greatly exaggerating and gratifying violence by Increasing the sounds of combat, making punches sound like explosions, the cracking of chairs like disastrous earthquakes however dimming the sound of a hand grenade to that of a realistic gunshot absent of shellshock or ear ringing however the explosion is . The Majority of the scene is comprised of music however starts off with a monotone beep that increases in speed and pitch almost warning of the impending carnage about to occur. The ensuing music that plays throughout the scene is Lynyrd Skynyrd's FreeBird an upbeat song with a fast tempo and an elaborate guitar solo which sets the scene and goes perfectly with the pace of the scene however undermines the gratuitous violence and brutal sights that the film portrays and depicts throughout the manic scene. The sound mix for the scene is reinforced by guttural and primal screaming fuelled by the sonic waves emitted from the Valentine Chip. The chaotic and unhinged sound mix relays to the audience of the situation spiralling wildly out of control and the more complex the ensuing guitar solo gets, the more complex and busy the scene gets as within the space of minutes bodies, chairs, ornaments and weapons are scattered across the reddening floor. As the scene progresses, the ongoing commentary/dialogue from Eggsy, Merlin and Gazelle summarise the better part of what the audience may be thinking as well as adding to character personality and exposition with Eggsy providing further comic relief or relating to the audience depending on the viewer’s sinister sense of humour or fellow shock to the scenes being shown wincing to stabbings and sitting in shock and awe. The momentary break (given in the form of a hand grenade planted in an assailant's trousers pocket) gives the viewer a small chance to recollect and take in the surroundings and in breaking the noise dims the music and sound to give off the impression of shellshock, this in comparison to the shellshock depicted in Children Of Men it greatly differs from the stylish and overtly violent tones of Kingsman. The Elements of Sound during The Car Scene are intense and encompassing, the use of camera takes place in the car itself and using sound to fill in the rest of the scene. This Immersive use of sound surrounds the audience and installs them with the same amount of fear that the characters are induced with. The Film has a unique and wonderful use of Sound Effects and Music,each particular sound and every piece of music is carefully thought out, similar to Edgar Wright’s use of music to connote a happy, energetic scene, the use of pace in the music is constant and unnerving in contrast to the clearly chaotic, tumultuous scene taking place in the space of 4 Minutes. During the Scene the sounds are layered in a realistic and disorderly fashion which fits in incredibly to the visual assault the viewers are receiving and that the characters are going through. Throughout the scene the dialogue between characters is realistically adapting to the scene, the endearing earlier parts of the scene are accompanied by upbeat, melodic music which seems to haunt them during Julianne's Murder and continue the Frantic Pace of this scene. Children of Men’s two biggest pieces—a surprise attack on a car that’s holding revolutionaries who are escorting the first woman to become pregnant after a decade of worldwide infertility, and an extensive battle within a bombed out building—required days to set up. For the car chase, the crew had the location for that shot for 12 days. 10 days were spent getting the camera axes correct on the car rig, placing the attackers in their proper places to enter the shot after launching a fiery roadblock, charge the car, back up the car, send a motorcycle toward the car to fire, crash and then pan back around to reveal one of the most shocking early deaths of a well known actor ever filmed. That doesn’t even include the beginning portion of the scene where two former lovers, Clive Owen and Julianne Moore, play a charming parlor trick involving a ping-pong ball to lull the viewer into feeling safe before the attack. The Scene is a relentless assault on both the eyes and ears, unforgiving gunshots, maniacal screaming and the furious sounds of engines competing are haunted by music which moments before conveyed a peaceful and positive bonding scene and is now adding to the smorgasbord of sound and chaos. The Battlefield Scene is unremitting visually however makes a larger impact in sound due to a random mass of loud diegetic gunfire, explosions, war cries, screams of anguish and a singular non diegetic tone played throughout adding more to the unfaltering chaos.This Long Tone signals the impending doom that envelops Leo during the battle and like the motives of each faction the sounds of war are unwavering and resolute, Bullet Ricochet, Tank Shells Firing, Crushed Walls and Flying Debris immerse the audience in the Uprising taking place, the continuous cut challenges the audience almost daring them to away, holding their gaze in a nonexistent game of chicken further daring the audiences bravery and will. The movie almost shoves the violent military and tragic reality of today with the realistic threat of mass infertility into the audiences face. It almost doesn't leave much to the imagination when compared to a real battlefield similarly scattered with bodies of soldiers, civilians and like the film littered with the stricken families grieving severed limbs, dead relatives and screaming into the endless void of war for the lost or dead. The Components of Sound during the Documentary Stacey Dooley on Drugs is a mixed soundboard of realistic diegetic conversation and background ambient sound with non diegetic voiceover and music. The Sound Mix consists of Metropolitan, Urban Backgrounds featuring City Trademarks such as a vast populated range of Transport, The Traffic Systems and Industrial Sounds from The Cities many factories, These Mechanical, Metropolitan sounds set the scene for the ensuing Layers of sound which include Local Dialect UK Garage, House and Electronic Dance Music which is popular with the Target audience and featured interviewees of the Documentary along with being popular locally within the Underground London music scene. Further Sound effects from Technology such as phones to represent the apps being used etc Snapchat, Instagram, IMessage and Texting/Phone Calls. Handheld wary Recording done for high tension meetings/interviews with people that are unaware. The Use of Voiceover in its stern but casual tone alerts the audience of the deeper concerns that need to be addressed by the majority that she's reaching out to while using concerning tones to almost “level” with the audience. Stacey Dooley maintains this stern inquisitive Voice especially when questioning those with poor morality or haven't atoned for their actions however uses the aforementioned kinder voice when talking to those who either should have known better or are looked down upon. The use of voiceover or her Diegetic voice can influence the audience's view on the topic being talked about instilling a topic of conversation for the audience which is another purpose for its placement in the sound mix. The use of Live Location Audio Recording and Diegetic Edited Music to blend between scenes and themes connotes a Professional and Efficient operation not only by the editing team but by the Investigation and Documentar in itself, in a summary the documentary is a seamless and open perspective on a closed and otherwise Syndicated, Underworld process, which is quite the Contradiction/Oxymoron. While The use of music may be necessary it may not be in such concentration and use to elicit such a potent and consistent response to the audience, This advanced but concentrated method of music to receive a response is common when creators want Strong Emotional Responses from their target audience such as charity advertisements and urgent voices for Sales advertisements. In all honesty the methods of Sound and Music both Diegetic and Edited in are in an effort to not only educate the audience but to give them a sense of emotion on the subject at hand. Get Out is a film laden with secrecy and foreshadowing from the offset and does a wonderful job of portraying this with its complex sound mix carefully thought out, during the Hypnotism Scene Midway throughout the film we are introduced to the true plight and extent of Missys “Hypnotherapy”. The Scene Begins with Chris walking in from his attempt to smoke outside, thwarted by The Groundskeeper (The Grandad) scaring him whilst in a midnight run. The only sound from walking inside is Silent ambient sound suddenly pierced by Missy asking Chris if he knew how dangerous smoking is, an uneasy question to pose in the middle of the night, her tone frank and uncaring poses as a jumpscare for both the audience and Chris. From then on the ambient background silence is dulled to make way for the expositional conversation given between Missy and Chris. During the Conversation the ambient background noises give way to the repeated Stirring of the Teacup it stays as the only consistency of the scene amidst the pauses of the conversation taking place. The consistent Stirring of the Teacup is accompanied by a long unwavering tone giving way to an eerie melody further setting the mood of discomfort to the audience. This melody along with Teacup Stirring is joined by Chris’s restless, anxious Scratching as he recalls the traumatic experience he went through as a child. This assembly of sounds reach a dull climax when Chris enters the Sunken Place, which reduces the melody to a low tone and replicates the sound of rushing blood. The Sound of rushing blood, lack of sound yet abundance in music Panics the audience as equally as the Protagonist Chris is and further reinforces the title of the movie GET OUT which is what the audience are urging at this point, This surge of panic serves as a jumpscare to the audience and breaks the repetitive stirring and uneasy melody replayed to the audience. Jordan Peele (Director) had managed to perfectly choose the Sound to Replicate fear in its most pure and raw form affecting the audience in such a way that even the most experienced actors fail to recreate with which he has done in his DEBUT Film, The effect left on the audience is genuine fear, disbelief and shock. In all these films are perfect examples of Sound design used to manipulate, emote, relate, reel in shock or draw closer in mystery, these outstanding cases of sound and music have left an impact on audience which will be tough to rid.