By doing this, the film will be flowing and it can also help condense the time that the whole film is played, which can help save a lot of time to the audience because sometimes they don’t have time to watch a long film. The film will not look like it is broken up into different parts of the scenes as people are watching it, but instead every piece will be put together, so it can look like they are watching a real movie and most importantly, it will look professional. By playing the live orchestra right before the film starts and again after it ends, it can help the audience reflect how the variety of classical music of live orchestra fits in with every part of the scene in the film, what the history behinds film is, and how it relates to the theme of the entire film and the outside world. The live orchestra needs to be played at the end of the film, since there is a little of it in the beginning, so it can help the audience regain the memories of how the live orchestra sound. It is very hard to picture and remember how the live orchestra sound by listening to it only once.
Was most certainly not the first integrated musical, but it was the first organic musical play, in which every element serves as a crucial, meaningful piece of the whole’ (Kendrick, J. (2010) Musical Theatre: A History) Oklahoma! is considered as the first integrated show because of all the key element’s used within a musical, and that they work together as a whole, the musical really did mark a shift in how musicals are done and what goes on in
The films “The Great Gatsby” as well as “Midnight in Paris” were directed to portray the vibe the directors wanted to carry all throughout the films with characters and music, taking inspiration from the novel “The great Gatsby”. The “midnight in Paris” took inspiration from the great Gatsby to help bring the film alive as well as the characters, which were involved, in it. Both films as well as the novel portrayed a loving couple that did anything to be together but at the end of the day, not all the trouble the characters went through to be together was enough. One of the major conflicts that the films seemed to have were that the main characters always living in the past instead of living in the present, which was their mistake. Living in the past was a huge mistake that the character has seemed in encounter, in their head they always thought of what it could have been and what it would have been, which brought many problems on the way.
The author includes a lot of vaguely written details, including the main characters’ names. So, the reader relies on indirect characterization and symbolism to comprehend the story and the characters within it. One example of this symbolism is the musical aspect that the author decides to include, the songs. Through the songs and the context in which they are used, the author establishes the mood, provides the reader with better
People even listen to music while working. In conclusion, the song “Distance” by Richard Caddock and Hyper Potions is more poetic and artistic than the poem “Travels Together” by Heather Milks because of its better use of rhyme, rhythm/meter, and influence on culture. They both use metaphors well, but “Distance” uses more rhyme and has a better rhythm to it. As shown between these two examples, music is more poetic than poetry and should be considered poetry because of their use of rhyme, meter, and influence on
Howard Shore’s use of leitmotifs in his movie score composition in the Lord of the Rings provides for a foundational basis of emotion and character narrative. His complex integration of leitmotifs in the trilogy is considered to be among the most extensive in terms of the sheer number of motifs and themes accounted for, as well as it’s multifaceted composition. Many composers of movie scores will often fall into the pattern of minimizing the usage of leitmotifs and instead score based on momental romanticization. Shore does not fall into this category. The intentionality and strategy placed in each score and harmony is a direct emotional reflection of character development and plot progression.
I would definitely watch it again if Dexter had it as one of their musicals again. There was one thing I would change about the play. That is the music that was played while the cast was singing. The music over powered the sound of their voices. You could hear there what they were saying.
Through contrast and comparison, critically analyse the soundtrack, and its role in audio-visual media, by exploring two genre specific films of your choice. “An important factor in the success of a film score is the exact choice of scenes o moments where music can really speak effectively, so that it does not become a mere dim background”. (2009, p. 62) This quote from James Bernard really encapsulates the ways in which films approach their scores, this is shown in the Gothic horror, Dracula (1958) and the 1973 supernatural horror, The Exorcist. In neither film are the soundtracks “mere dim background” noise instead are extremely carefully constructed to heighten the intense horrific nature of both films. However once we look to analyse
One technique used by filmmakers like Griffith, to counteract this was “continuity editing” (194). As Thompson indicates, this included “cut-ins”, “point of view “shots, “eyeline structures” and “dialogue inter-titles” (194). Continuity became important in the film industry as it was one of the “basic principles” that created an ‘indiscernible thread’ which the audience were “controlled and comprehending” (196). This continuity then developed as a tool for narrative structure. Thompson comments that continuity “quickly developed from a general notion of narrative unity to the to the more specific conception of a story told in visual terms and continuing unbroken, spatially and temporally, from shot to shot” (196).
Elements of their social, economic lives appeals us and film industry uses it against audience to earn money from it, so they make films about these times continuously. As a matter of course every film that has been made has affected and sometimes improved the notion of medieval times in our times. Medieval film is not a genre by itself. ' 'It is not quite a genre, any more than is 'the historical film ', a part