Apocalypse Now Sound Analysis
Diegetic Sound Used:
In this clip most of the sounds we can hear are diegetic sounds- sounds that are visible on screen. The use of them in this film includes the sounds of helicopters flying on screen. Another great example of this is at the start where the man starts playing the trumpet; we can hear and see him playing. Other examples of this include gun shots.
Non-Diegetic Sound Used:
The non-diegetic sounds in this film are also used quite often, these are pretty much sound in the background. This is used a lot with the helicopters flying. They are not on the screen but we can still hear that they are there. This is used to affect the atmosphere of the scene. It allows us feel more part of the action.
Sound Bridges In the shot:
Sound bridges are used a couple of types in the clip, these are sounds that carry onto the next slide. For example the air raid sirens at the start carry on to the next scene, another example would include the actors talking between scenes. It helps connect the two scenes together giving it more of a flow.
Parallel Sound Used:
We can notice parallel sounds being used when the music is being play. We can see the happy and exited faces of some soldiers; this also links with the happy music. This helps set the mood and makes sure people know what the mood is.
Contrapuntal Sound in the shot:
Contrapuntal sound is again used when the music is being played. This is because the music is happy but it is a scene of war and death meaning its opposite. We link the sound being played to the Americans attacking and can be conditioned to recognise the music to an attack.
Wednesday, 28 September 2011
Track (or Dolly)
Moving the camera itself towards or away from the subject, or to follow a moving subject. The shot is called a ‘track’ or ‘tracking’ shot because the camera is often run along a small track (very like a small railway track) to follow the action. The use of the word ‘Dolly’ comes from a tripod which is on wheels called a ‘dolly’. Both these techniques are used to stabilize the camera. This places all the focus on the objects/action in the frame – it allows for focus to remain still whilst the background rushes past. This is often used when we stay with the occupants of a car, listening to their dialogue and watching their actions when the background is largely unimportant. It should not to be confused with a zoom, where the camera’s lens is varied to give the impression of moving closer to, or away from the subject.
Pan
Pivoting the camera to the side to scan a scene or to follow a moving subject. The camera stays STILL – the action rushes past. This highlights the SPEED of what is happening in form of the camera OR it gives clear evidence of scope – often used to show the surroundings or to establish the ‘background’.
Whip pan
A sudden, fast pan.
Tilt
Pivoting the camera vertically up or down. This produces a low or high angle shot.
Rolling
This is when the camera moves diagonally, making the image askew. This is usually used to show that the character is ill or drugged and is often used in as point of view. This is also called a ‘dutch angle’.
Arc
Moving the camera in an arc around the subject.
Crane shot
This is used when the camera itself moves up or down and is usually placed higher above the ground/action. The crane shot is the primary means of moving the camera above ground. During crane shots, the camera rises and lowers on a platform connected to a mechanical arm, much like utility company cherry-pickers. A crane enables the camera to traverse great distances up and down, as well as forward and backward and from side to side.
Overhead
This is where the camera looks over the action or scene directly from above – it’s like a kind of shot from the ceiling.
Aerial shot
Aerial shots are taken from a plane or helicopter are a variation of crane shots. A camera mounted on an aerial support can move into space in all directions while achieving much greater heights than can a crane. Filmmakers began exploring ways to mount a camera on a plane during the 1910s, and in the 1950s helicopter mounts created additional shooting possibilities. An aerial shot may frame another flying object or it may provide a "bird's eye view" of the landscape, as in the swooping helicopter shot of Julie Andrews in the Alps at the opening of The Sound of Music (1965).
Hand-held shot
This is used to convey a sense of immediacy OR it can be used to suggest realism. Thus this shot if often used in more gritty films. However, it is often used these days as it allows for more freedom and with the use of a steadicam the shots have less of the hand-held, shaky feel that one associates with amateur film.
Zoom (Crash Zoom, Reverse Zoom, Reverse Crash Zoom)
This is not really a movement of the camera but it appears to be so. It is when the focus is pulled making either the object/scene slowly appear closer or further away. When this is done very fast, it’s called a crash zoom. When the focus reverses to make the object/scene seem further away, then it’s called a reverse zoom or, when done very quickly, a reverse crash zoom.
Moving the camera itself towards or away from the subject, or to follow a moving subject. The shot is called a ‘track’ or ‘tracking’ shot because the camera is often run along a small track (very like a small railway track) to follow the action. The use of the word ‘Dolly’ comes from a tripod which is on wheels called a ‘dolly’. Both these techniques are used to stabilize the camera. This places all the focus on the objects/action in the frame – it allows for focus to remain still whilst the background rushes past. This is often used when we stay with the occupants of a car, listening to their dialogue and watching their actions when the background is largely unimportant. It should not to be confused with a zoom, where the camera’s lens is varied to give the impression of moving closer to, or away from the subject.
Pan
Pivoting the camera to the side to scan a scene or to follow a moving subject. The camera stays STILL – the action rushes past. This highlights the SPEED of what is happening in form of the camera OR it gives clear evidence of scope – often used to show the surroundings or to establish the ‘background’.
Whip pan
A sudden, fast pan.
Tilt
Pivoting the camera vertically up or down. This produces a low or high angle shot.
Rolling
This is when the camera moves diagonally, making the image askew. This is usually used to show that the character is ill or drugged and is often used in as point of view. This is also called a ‘dutch angle’.
Arc
Moving the camera in an arc around the subject.
Crane shot
This is used when the camera itself moves up or down and is usually placed higher above the ground/action. The crane shot is the primary means of moving the camera above ground. During crane shots, the camera rises and lowers on a platform connected to a mechanical arm, much like utility company cherry-pickers. A crane enables the camera to traverse great distances up and down, as well as forward and backward and from side to side.
Overhead
This is where the camera looks over the action or scene directly from above – it’s like a kind of shot from the ceiling.
Aerial shot
Aerial shots are taken from a plane or helicopter are a variation of crane shots. A camera mounted on an aerial support can move into space in all directions while achieving much greater heights than can a crane. Filmmakers began exploring ways to mount a camera on a plane during the 1910s, and in the 1950s helicopter mounts created additional shooting possibilities. An aerial shot may frame another flying object or it may provide a "bird's eye view" of the landscape, as in the swooping helicopter shot of Julie Andrews in the Alps at the opening of The Sound of Music (1965).
Hand-held shot
This is used to convey a sense of immediacy OR it can be used to suggest realism. Thus this shot if often used in more gritty films. However, it is often used these days as it allows for more freedom and with the use of a steadicam the shots have less of the hand-held, shaky feel that one associates with amateur film.
Zoom (Crash Zoom, Reverse Zoom, Reverse Crash Zoom)
This is not really a movement of the camera but it appears to be so. It is when the focus is pulled making either the object/scene slowly appear closer or further away. When this is done very fast, it’s called a crash zoom. When the focus reverses to make the object/scene seem further away, then it’s called a reverse zoom or, when done very quickly, a reverse crash zoom.
Tuesday, 27 September 2011
Tessa perkins
Tessa Perkins
Tessa Perkins (1979) made 5 assumptions about stereotyping and how it isn’t a simple process. These are her assumptions
• Stereotypes are not always negative (e.g. 'The French are good cooks').
• They are not always about minority groups or the less powerful ( e.g. 'upper class twits').
• They can be held about one's own group.
• They are not rigid or unchanging ( e.g. the "cloth cap worker of the 1950's became the
1980's 'consumerist home-owner who holidays in Spain').
• They are not always false.
To what extent do you agree with these assumptions?
I agree with Tessa Perkins first assumption. They are most commonly negative, but on the odd occasion they can be positive towards certain stereotypes, for example, the French are known to be mardy, but they are also known to be great chiefs.
Next, I also agree about her second assumption. Stereotyping isn’t always about minority group’s evidence here being the statement 'upper class twits'.
I agree with her third assumption but it only happens in rare cases, it is very uncommon for someone be stereotyping themselves, unless it’s a positive stereotype or as a joke/sarcasm. For example teenagers label themselves being ‘hoodies’.
Her next assumption I totally agree with, stereotypes are forever changing. We know this true evidence of this being the cloth cap worker of the 1950's became the 1980's 'consumerist home-owner who holidays in Spain'. This shows that stereotypes can change in a space of time. We have also seen this with teenagers. During World War II teenagers were respected and were well respected young adults who helped out the community. This has now changed to teenagers being trouble making criminals. This is because of the recent activity of teenagers, and the media have highlighted that many criminals are teenagers.
Finally Tessa Perkins last assumption “They are not always false” I pretty much fully agree with. For example British people talking in the Queen’s English, this is true in some cases but not always true. old people are stereotyped to be moody and grumpy. Cook from skins is seen as a trouble making teenager, who drinks, smokes and takes drugs, this is characterised as much as possible to make the audience react to this.
Tessa Perkins (1979) made 5 assumptions about stereotyping and how it isn’t a simple process. These are her assumptions
• Stereotypes are not always negative (e.g. 'The French are good cooks').
• They are not always about minority groups or the less powerful ( e.g. 'upper class twits').
• They can be held about one's own group.
• They are not rigid or unchanging ( e.g. the "cloth cap worker of the 1950's became the
1980's 'consumerist home-owner who holidays in Spain').
• They are not always false.
To what extent do you agree with these assumptions?
I agree with Tessa Perkins first assumption. They are most commonly negative, but on the odd occasion they can be positive towards certain stereotypes, for example, the French are known to be mardy, but they are also known to be great chiefs.
Next, I also agree about her second assumption. Stereotyping isn’t always about minority group’s evidence here being the statement 'upper class twits'.
I agree with her third assumption but it only happens in rare cases, it is very uncommon for someone be stereotyping themselves, unless it’s a positive stereotype or as a joke/sarcasm. For example teenagers label themselves being ‘hoodies’.
Her next assumption I totally agree with, stereotypes are forever changing. We know this true evidence of this being the cloth cap worker of the 1950's became the 1980's 'consumerist home-owner who holidays in Spain'. This shows that stereotypes can change in a space of time. We have also seen this with teenagers. During World War II teenagers were respected and were well respected young adults who helped out the community. This has now changed to teenagers being trouble making criminals. This is because of the recent activity of teenagers, and the media have highlighted that many criminals are teenagers.
Finally Tessa Perkins last assumption “They are not always false” I pretty much fully agree with. For example British people talking in the Queen’s English, this is true in some cases but not always true. old people are stereotyped to be moody and grumpy. Cook from skins is seen as a trouble making teenager, who drinks, smokes and takes drugs, this is characterised as much as possible to make the audience react to this.
Friday, 23 September 2011
Thursday, 15 September 2011
Wednesday, 14 September 2011
Denotation and Connotation
Denotation- refers to the literal meaning of a word, the 'dictionary definition'.¨
Connotation- refers to the associations that are connected to a certain word or the emotional suggestions related to that word. The connotative meanings of a word exist together with the denotative meanings.
Connotation- refers to the associations that are connected to a certain word or the emotional suggestions related to that word. The connotative meanings of a word exist together with the denotative meanings.
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