By James Buhler, David Neumeyer, Rob Deemer
Motion pictures in attaining their results with sound in addition to photographs. an excellent textual content for introductory movie tune classes, listening to the films: tune and Sound in movie historical past brings track into the context of sound, and sound into the context of the complete movie.
The textual content explores movie sound in 3 elements. via enticing, obtainable pattern analyses and workouts, half I illustrates how you can learn a soundtrack on the subject of the picture music. half II specializes in the contributions of song to movie shape and elegance whereas delivering a few designated analyses of other forms of scenes; and half III lays out a concise heritage of movie track and sound, paying specific consciousness to the function of technological concepts in movie creation and exhibition.
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Extra info for Hearing the Movies: Music and Sound in Film History
Sample text
Back to 7 and 9; Sean stands up and walks out of the frame; camera adjusts slightly to show more of Will’s face. Reestablishing shot: 14. Back to 4, but Will sitting alone. Consider this note on scene design: The prototypical scene design begins with a general view of the physical space; this is referred to as an establishing shot. ) Here, the long shot of Sean and Will on the park bench lets us know that the scene will take place in the park and positions them in that physical space. A common series of transitions moves gradually inward to close views of the conversing persons—a master shot (commonly showing a room for indoor scenes) is the frame of reference to which we return occasionally after a series of closer shots, and a medium 2-shot (or set of them) focuses in on a pair of characters but in an emotionally neutral way (the medium shot shows characters from below the knees—or sometimes from below the waist—to the tops of their heads).
Out of Africa. Denys presents Karen with a gramophone (the scene begins at 01:19:20 or DVD ch. 11). Figure I-7. Sweet Smell of Success. The Chico Hamilton Quintet plays at a nightclub (the scene begins at 00:07:15 or DVD ch. 2). emphasizing the sound track as an entity by invoking musical terms that can also be used to analyze sound (ch. 2). Chapter 3 turns attention to the physical world of the narrative (because sound always presupposes space), and chapter 4 to aspects of film sound and time. CHAPTER 1 The Sound Track and Narrative Introduction Even in the digital age, a sound film consists of two separate components: image track and sound track (or “audio track”).
The simplest example of music shaping a scene, however, is a direct onscreen performance. Music is unquestionably foregrounded, and the form of the music dictates—it “becomes”—the form of the scene. Such radical presence is routinely expected in musicals, of course, but occurs in dramatic feature films and comedies, too; as if to compensate, music’s absence else- Sound Track and Narrative where is not generally significant. In one of several performances during To Have and Have Not (1944), Hoagy Carmichael, playing a hotel pianist, begins to play and sing, then invites “Slim” (Lauren Bacall) to join in, as the rest of his band gradually does also—see Figure 1-7 (DVD timing 00:14:40).