Is it just me, or is the title of a 'Cult Film' extremely misunderstood? Films that have a SMALL but devoted audience, and often differ from the norm. For example, they are often dark, alternative, or just unconventional. According to this, many films such as Sin City, Shawshank Redemption and The Nightmare Before Christmas would be seen as Cult Classics. But Hollywood has taken this title from them. By becoming mainstream they loose their Cult status. This is arguably a good circumstance as it allows the directors, producers, actors etc to gain more money, allowing them success and ability to create more films. However, it does mean that films such as these ARE NOT cult films. Cult films have no celebrities (or have celebrities before they became famous) and a very low budget. Chances are, if its a true Cult Classic, you have not heard of it. Therefore, take this list with a pinch of salt:
http://www.filmsite.org/cultfilmsew.html
Monday, January 12, 2009
Wednesday, January 7, 2009
Use of Sound and Mise en scene in Practical Magic
The contrast between the two sisters in Practical Magic is shown predominantly in this scene where they both write to each other about their lives. The normally diagetic sound of both their voices is shown in a non-diagetic fashion, as it provides a narration to the montage portraying the way they live. The contrast is shown immediately through their tone of voices. Sally, the sensible sister who just wants to be normal, has a light, bubbaly tone as she is describing her married life. Jilly, however, when introduced provides a soft, alluring tone that represents the seductive nature of her life.
The non-diagetic music also shows the contrast between the two sisters. As Sally is running to meet her future husband, the song laying is light, happy, bubbly and innocent, reflecting her nature and the nature of their relationship. The same song is being played as it switches from Sally to Gillian, and the way the same song is portrayed gives further contrast of their lives. The music is a low, partying tune, and so Sally is seen dancing around her living room with her husband and kids. The scene fades to Gillian using a sound bridge, and shows her seductively dancing to the music by the pool side with many topless men.
The music fades into another song, providing another sound bridge. This song is even lower, with more drum, and provides an even more seductive tone to the scene. Her narration becomes husky and scattered, showing her excitement at the prospect of the man she is approaching. The music also mirrors her feelings towards him, and follows her journey to him down the hallway. It draws parallel between the seductive tune, and the way she is walking.
The diagetic sounds also provide contrast between the two sisters. During Sally’s clip, the diagetic background noises consist of joyful laughter and playful screams from her two children.
However, during Gillian’s clip, the diagetic background noises consist of splashes in the pool, carefree laughter and bottles being opened.
Throughout the film, but especially in this scene, the two sisters are shown in different lights. Sally, the older, sensable, motherly one, is often shown in bright, natural lighting to show her angelic nature. Gillian, the younger, seductive, reckless one is mostly shown in darker lighting, and often artifitial to reflect her darker, more sinister nature.
The use of props within the scene not only provides further contrast, but also act as action codes to the spectator.
In Sally’s scene, props consist of apples and bicycles. Later on, her husband is nearly killed by bicycles and so drops a crate of apples.
In Gillian’s scene, props consist of cigarettes, beer, and Jimmy’s ring. Later on, he tries to brand her with his ring using a cigarette lighter, whilst drunk.
Even their different hair colours show traits of their personality. Brunette, being the most common hair colour, shows how all Sally wants is to fit in and be normal. Gillian, however, is a fiery red-head.
Finally, the performances of Nicole JKidman and Sandra Bullock manipulate the spectators view of the characters. Nicole Kidman is constantly fixed with a cheeky smile, and seeks personal contact with other characters. Sandra Bullock, however, is always seen crossing her arms and donning a serious expression.
The non-diagetic music also shows the contrast between the two sisters. As Sally is running to meet her future husband, the song laying is light, happy, bubbly and innocent, reflecting her nature and the nature of their relationship. The same song is being played as it switches from Sally to Gillian, and the way the same song is portrayed gives further contrast of their lives. The music is a low, partying tune, and so Sally is seen dancing around her living room with her husband and kids. The scene fades to Gillian using a sound bridge, and shows her seductively dancing to the music by the pool side with many topless men.
The music fades into another song, providing another sound bridge. This song is even lower, with more drum, and provides an even more seductive tone to the scene. Her narration becomes husky and scattered, showing her excitement at the prospect of the man she is approaching. The music also mirrors her feelings towards him, and follows her journey to him down the hallway. It draws parallel between the seductive tune, and the way she is walking.
The diagetic sounds also provide contrast between the two sisters. During Sally’s clip, the diagetic background noises consist of joyful laughter and playful screams from her two children.
However, during Gillian’s clip, the diagetic background noises consist of splashes in the pool, carefree laughter and bottles being opened.
Throughout the film, but especially in this scene, the two sisters are shown in different lights. Sally, the older, sensable, motherly one, is often shown in bright, natural lighting to show her angelic nature. Gillian, the younger, seductive, reckless one is mostly shown in darker lighting, and often artifitial to reflect her darker, more sinister nature.
The use of props within the scene not only provides further contrast, but also act as action codes to the spectator.
In Sally’s scene, props consist of apples and bicycles. Later on, her husband is nearly killed by bicycles and so drops a crate of apples.
In Gillian’s scene, props consist of cigarettes, beer, and Jimmy’s ring. Later on, he tries to brand her with his ring using a cigarette lighter, whilst drunk.
Even their different hair colours show traits of their personality. Brunette, being the most common hair colour, shows how all Sally wants is to fit in and be normal. Gillian, however, is a fiery red-head.
Finally, the performances of Nicole JKidman and Sandra Bullock manipulate the spectators view of the characters. Nicole Kidman is constantly fixed with a cheeky smile, and seeks personal contact with other characters. Sandra Bullock, however, is always seen crossing her arms and donning a serious expression.
The use of Sound and Mise en Scene in Brick
The use of Sound and Mise en Scene in Brick
Laura’s Party/Meeting Dode
The Film Brick was written and directed by Rian Johnson. It was released in the UK on the 12th of May 2006, but first premiered in the USA at the Sundance Film Festival in January 2005. It pays homage to Film Nior, but is based in a high school, making it an unusual hybrid genre, and allowing the use of sound and mise en scene to represent and convey different thoughts, feelings and opinions to the spectators.
The scene in which the protagonist Brendan attends Laura’s ‘Halloween in January’ party, and then goes on to meet the ‘lowly stoner’ Dode, uses sound and mise en scene to represent these two characters and places and create opinions about them for the spectator.
When Brendan first steps into Laura’s house, the setting immediately informs the audience that she is of a high social economic status. The use of a large, spacious house with tall ceilings, marble floors and carved wooden furnishings represents a very wealthy family. Laura is now established as rich. The use of sound, however, narrows this representation into one of sophistication. The soft, sophisticated piano music that Laura herself is playing as Brendan enters shows that she is intelligent, elegant and classy. Sound and mise en scene work together to create an image of perfection for Laura, as the diagetic piano music is parallel to the use of Champagne glasses, a grand piano, and many glass vases and glass cabinets.
The use of glass in itself is a subtle action code to the spectator. Placing glass (cabinets, tumblers, vases etc.) as an allegory for Laura’s life subconsciously reminds the spectator of how easily life can fall apart (or, using the glass metaphor, break). The use of it as a prop enforces the view of a lavish and expensive interior, but also provides an action code that Laura’s easy, glamorous and drug-addicted life may well shatter by the end of the film.
The image portrayed by this scene of a party that the audience already knows contains strong illegal drugs, converts and glamorizes the images of this type of party that is often shown on the news. For example, in 2007, the teenager of the Bells’ threw a party containing liberal amounts of drugs and alcohol, and as a result caused £25,000 worth of damage to the family home. However, the actual ‘partying’ that is seen in this scene consists of old fashioned jazz music as the diagetic accompaniment, and little or no dancing. The partygoers themselves mirror the lifestyle that Laura portrays. They are also sophisticated; wearing costumes, playing piano, reciting poetry and drinking martinis or tumblers of whiskey. This glamorous image makes the spectator aspire to be part of the scene, and become one of the sophisticated people at this luxurious party.
The use of costume portrays set images of the characters, both strait and ironic, to the spectator. Brad Bramish, the ‘High School Jock’ that is supposedly a powerful drug dealer (though is often referred to as a ‘sap’) is darned in an outfit reminiscent of that of ancient Greek. This costume, coupled with the image of him surrounded by people and giving a speech, is providing an image of philosophers (such as Aristotle, Plato etc.). This demonstrates, through pure irony, the image the other characters (and therefore the spectator) have of him. His costume is in contrast with the Neanderthal, brutish and some what idiotic nature of the character.
Brendan, however, is dressed in plain, dull colours. This is a striking contrast to Laura’s costume, which further underlines the difference in their characters. Brendan is clearly more concerned with other peoples welfare. His lack of interest in changing or particularly glamorizing his clothes shows his concentration upon his mission to find out what has happened to his ex-girlfriend Emily.
Laura, in contrast, is instantly noticeable in a crowd with her use of costume. It contrasts strikingly to Brendan’s, with a tight-fitting deep scarlet dress. According to colour psychology, red is the most emotionally intense colour, and red clothing gets noticed. Therefore, Laura’s importance within the film is underlined once more. The effect this has on the spectator allows them to become wary of Laura. Red is traditionally associated with danger, and can act as a warning to the spectator not to trust the character dressed in red. However, it can also be seen as the colour of passion and lust, encouraging a feeling of closeness and/or sexual tension between the main female and male protagonists. Laura is dangerous. The mixed signals of danger, sex, lust and blood all collaborate to warn against her, and ensure the spectator is suspicious of her throughout the film.
Her costume also includes a red ribbon and flowers in her hair. With all the connotations of her character, these accessories seem out of place. They are traditionally feminine (or, ‘girley’), and therefore convert her image of power, dominance and independence. Contrasting to the rest of her costume, these aspects confuse the spectator, and imply that the use of such ‘innocent’ decorations may in fact be the real ‘costume’ she is wearing, not just for the party, but in her social life. The spectator becomes wary of her, and is invited to be curious about the ‘real’ Laura, and wish to see her without her social costume.
The femininity represented by these accessories links back to the use of sound. When Brendan leaves the room, the spectator expects Laura to follow him, as the music then changes back to (this time non-diagetic) soft piano music, which the audience now associates with Laura. The soft, smooth lament of piano is mixed with sporadic high notes which add a feminine touch to the tone of the scene. As expected, the scene is then punctured by the diagetic sound of Laura’s high heels walking across the marble floor. This sound alone connotes sophistication and femininity. Repetitive reminders of Laura’s femininity within the use of sound and mise en scene hold her sexuality in high recognition. Her interest in Brendan, and what he wants, is therefore constantly underlined by a tone of sexuality, and ensures Laura’s prolonged presence within his investigation. It also allows the spectator to view the character and relationship development between them, as they become aware that she is likely to play a larger part in the film than first thought.
When they sit in a room alone together, this sexual tone is continued. The soft, seductive tone of voice she is using is herd just over the top of the soft crackling of the fireplace and low, seductive music. This would all provide a distraction for Brendan, and so his strength of character and determination for his mission is shown in his disinterest of his surroundings. In terms of mise en scene, the low lighting caused by the fire place and candles parallel the use of sound.
Laura gets a hurried, just out of earshot message, and so leaves the room. Again, the feminine and glamorous clicking of her stilettos on the marble floor highlights the sexual femininity of her character. In contrast, Brendan runs after her to find out what she is doing, and the diagetic sounds of his footfalls are heavy and purposeful. This shows his disenchantment towards Laura’s seduction, and, when paired with the low, tension-building music, links to the film noir genre, and connotes a feeling of mystery and excitement to the spectator.
When Brendan covertly spies on Laura’s conversation with Tug, the audience are able to see, from his point of view, the use of dark lighting within the scene. It clearly represents the secret and dark tone of the conversation, and allows the spectator to follow Brendan’s thought track that Laura is involved in something troublesome. The solitary street lamp that illuminates their conversation suggests that each of them feel they are ‘in the know’. The diagetic sound of their discussion is low and just out of earshot, which frustrates the spectator along with Brendan, and increases their curiosity, ensuring they maintain their capture of the film.
As this scene ends, there is an almost graphic match to link the place where the character of Dode spends his time, to Laura’s house. However, this is purposely not achieved, as Laura’s large, grand house cannot be matched with a small and shabby Diner.
Here, the simple, monotonic non-diagetic music instantly represents the simple minds of the present characters. It connotes the wider issue of brain damage in drug users. This is enforced by the diagetic sound of someone blowing on a straw. This irritating diagetic sound connotes idiotic, simplistic characters, immediately providing a contrast between the sophisticated and classy characters in the last scene, socialising to jazz and piano music. Therefore, the spectator, simply from seeing this small contrast would inevitably wish to become more like one of Laura’s friends, rather than Dode’s.
In terms of mise en scene, the use of costume also contrasts strikingly to the last scene. Dode’s friends are seen in dirty, baggy clothing and hats, with long, dirty hair. The social connotation of traditional ‘grungers’ links to bands such as Nirvana, and so allows the audience to assume that these characters are strong drug users.
Dode himself has pale makeup and dark circles round his eyes, which connote illness and assure the audience they have the right stereotype for this group of characters. This image leaves the spectator believing that the character of Dode is ill. His complexion suggests he does not get much sunlight or nutritious food. The connotations of smoking cannabis are represented through this, and discourage the audience to follow his example, lest they begin to become like Dode.
In reference to props, the use of ‘joints’, a straw, trolleys and bins not only provide further contrast to Laura’s house and friends, but also link to much wider issues in society. The spectator is reminded of the poor and homeless, and concludes that this state of live is achieved through the taking of cannabis.
The contrast shown through mise en scene and sound between these to places and characters show a strong, and on the surface, moral undertone. Dode and his friends are homeless, poor, dirty, and brain damaged because they smoke cannabis. Laura does not, and she is show to have the life that is viewed as ideal within our contemporary society. However, it transpires that Laura is also a drug addict, but is partial to drugs in a much higher legal class, and far more damaging in the long term and shot term. The difference in damage and addiction between the two different types of drugs that Dode and Laura take leaves the spectator confused and wary; Laura clearly has a better life than Dode, but takes even more harmful and addictive drugs. The spectator is almost left to believe that Brick is glamorising the use of Heroine and Cocaine.
Brick uses sound and mise en scene to capture, maintain and inform its audience, as well as represent its characters. On a surface level, it seems to glamorise drug abuse, with the lavish and sophisticated life of Laura by example. The constant link between sex and drugs shown within the film would clearly make drugs an appealing option to most spectators. However, the representation of the characters, especially as they are portrayed through contrast (provided by sound and mise en scene), show an attempt to teach and to discourage the audience. Drugs are not presented, in their entirety, in a negative way, but the gateway theory of cannabis use is highly discouraged through the unappealing representation of those characters within in the text that use it. Young people who smoke marijuana are two to five times more likely to move on to harder drugs, and Brick attempts to combat the wider issue of inevitably moving on to harder and more dangerous drugs through the use of cannabis, by discouraging the latter.
Gripping and immensely intriguing, Brick achieves a moral, legal and health related message without patronising or insulting the spectator. Without the face value, ‘Don’t do drugs Kids!’ message, the film gains the popularity and trust of the audience, and leaves them discouraged from drug abuse, whilst feeling respected. This perfect medium is shown through the contrast provided by sound and mise en scene.
Laura’s Party/Meeting Dode
The Film Brick was written and directed by Rian Johnson. It was released in the UK on the 12th of May 2006, but first premiered in the USA at the Sundance Film Festival in January 2005. It pays homage to Film Nior, but is based in a high school, making it an unusual hybrid genre, and allowing the use of sound and mise en scene to represent and convey different thoughts, feelings and opinions to the spectators.
The scene in which the protagonist Brendan attends Laura’s ‘Halloween in January’ party, and then goes on to meet the ‘lowly stoner’ Dode, uses sound and mise en scene to represent these two characters and places and create opinions about them for the spectator.
When Brendan first steps into Laura’s house, the setting immediately informs the audience that she is of a high social economic status. The use of a large, spacious house with tall ceilings, marble floors and carved wooden furnishings represents a very wealthy family. Laura is now established as rich. The use of sound, however, narrows this representation into one of sophistication. The soft, sophisticated piano music that Laura herself is playing as Brendan enters shows that she is intelligent, elegant and classy. Sound and mise en scene work together to create an image of perfection for Laura, as the diagetic piano music is parallel to the use of Champagne glasses, a grand piano, and many glass vases and glass cabinets.
The use of glass in itself is a subtle action code to the spectator. Placing glass (cabinets, tumblers, vases etc.) as an allegory for Laura’s life subconsciously reminds the spectator of how easily life can fall apart (or, using the glass metaphor, break). The use of it as a prop enforces the view of a lavish and expensive interior, but also provides an action code that Laura’s easy, glamorous and drug-addicted life may well shatter by the end of the film.
The image portrayed by this scene of a party that the audience already knows contains strong illegal drugs, converts and glamorizes the images of this type of party that is often shown on the news. For example, in 2007, the teenager of the Bells’ threw a party containing liberal amounts of drugs and alcohol, and as a result caused £25,000 worth of damage to the family home. However, the actual ‘partying’ that is seen in this scene consists of old fashioned jazz music as the diagetic accompaniment, and little or no dancing. The partygoers themselves mirror the lifestyle that Laura portrays. They are also sophisticated; wearing costumes, playing piano, reciting poetry and drinking martinis or tumblers of whiskey. This glamorous image makes the spectator aspire to be part of the scene, and become one of the sophisticated people at this luxurious party.
The use of costume portrays set images of the characters, both strait and ironic, to the spectator. Brad Bramish, the ‘High School Jock’ that is supposedly a powerful drug dealer (though is often referred to as a ‘sap’) is darned in an outfit reminiscent of that of ancient Greek. This costume, coupled with the image of him surrounded by people and giving a speech, is providing an image of philosophers (such as Aristotle, Plato etc.). This demonstrates, through pure irony, the image the other characters (and therefore the spectator) have of him. His costume is in contrast with the Neanderthal, brutish and some what idiotic nature of the character.
Brendan, however, is dressed in plain, dull colours. This is a striking contrast to Laura’s costume, which further underlines the difference in their characters. Brendan is clearly more concerned with other peoples welfare. His lack of interest in changing or particularly glamorizing his clothes shows his concentration upon his mission to find out what has happened to his ex-girlfriend Emily.
Laura, in contrast, is instantly noticeable in a crowd with her use of costume. It contrasts strikingly to Brendan’s, with a tight-fitting deep scarlet dress. According to colour psychology, red is the most emotionally intense colour, and red clothing gets noticed. Therefore, Laura’s importance within the film is underlined once more. The effect this has on the spectator allows them to become wary of Laura. Red is traditionally associated with danger, and can act as a warning to the spectator not to trust the character dressed in red. However, it can also be seen as the colour of passion and lust, encouraging a feeling of closeness and/or sexual tension between the main female and male protagonists. Laura is dangerous. The mixed signals of danger, sex, lust and blood all collaborate to warn against her, and ensure the spectator is suspicious of her throughout the film.
Her costume also includes a red ribbon and flowers in her hair. With all the connotations of her character, these accessories seem out of place. They are traditionally feminine (or, ‘girley’), and therefore convert her image of power, dominance and independence. Contrasting to the rest of her costume, these aspects confuse the spectator, and imply that the use of such ‘innocent’ decorations may in fact be the real ‘costume’ she is wearing, not just for the party, but in her social life. The spectator becomes wary of her, and is invited to be curious about the ‘real’ Laura, and wish to see her without her social costume.
The femininity represented by these accessories links back to the use of sound. When Brendan leaves the room, the spectator expects Laura to follow him, as the music then changes back to (this time non-diagetic) soft piano music, which the audience now associates with Laura. The soft, smooth lament of piano is mixed with sporadic high notes which add a feminine touch to the tone of the scene. As expected, the scene is then punctured by the diagetic sound of Laura’s high heels walking across the marble floor. This sound alone connotes sophistication and femininity. Repetitive reminders of Laura’s femininity within the use of sound and mise en scene hold her sexuality in high recognition. Her interest in Brendan, and what he wants, is therefore constantly underlined by a tone of sexuality, and ensures Laura’s prolonged presence within his investigation. It also allows the spectator to view the character and relationship development between them, as they become aware that she is likely to play a larger part in the film than first thought.
When they sit in a room alone together, this sexual tone is continued. The soft, seductive tone of voice she is using is herd just over the top of the soft crackling of the fireplace and low, seductive music. This would all provide a distraction for Brendan, and so his strength of character and determination for his mission is shown in his disinterest of his surroundings. In terms of mise en scene, the low lighting caused by the fire place and candles parallel the use of sound.
Laura gets a hurried, just out of earshot message, and so leaves the room. Again, the feminine and glamorous clicking of her stilettos on the marble floor highlights the sexual femininity of her character. In contrast, Brendan runs after her to find out what she is doing, and the diagetic sounds of his footfalls are heavy and purposeful. This shows his disenchantment towards Laura’s seduction, and, when paired with the low, tension-building music, links to the film noir genre, and connotes a feeling of mystery and excitement to the spectator.
When Brendan covertly spies on Laura’s conversation with Tug, the audience are able to see, from his point of view, the use of dark lighting within the scene. It clearly represents the secret and dark tone of the conversation, and allows the spectator to follow Brendan’s thought track that Laura is involved in something troublesome. The solitary street lamp that illuminates their conversation suggests that each of them feel they are ‘in the know’. The diagetic sound of their discussion is low and just out of earshot, which frustrates the spectator along with Brendan, and increases their curiosity, ensuring they maintain their capture of the film.
As this scene ends, there is an almost graphic match to link the place where the character of Dode spends his time, to Laura’s house. However, this is purposely not achieved, as Laura’s large, grand house cannot be matched with a small and shabby Diner.
Here, the simple, monotonic non-diagetic music instantly represents the simple minds of the present characters. It connotes the wider issue of brain damage in drug users. This is enforced by the diagetic sound of someone blowing on a straw. This irritating diagetic sound connotes idiotic, simplistic characters, immediately providing a contrast between the sophisticated and classy characters in the last scene, socialising to jazz and piano music. Therefore, the spectator, simply from seeing this small contrast would inevitably wish to become more like one of Laura’s friends, rather than Dode’s.
In terms of mise en scene, the use of costume also contrasts strikingly to the last scene. Dode’s friends are seen in dirty, baggy clothing and hats, with long, dirty hair. The social connotation of traditional ‘grungers’ links to bands such as Nirvana, and so allows the audience to assume that these characters are strong drug users.
Dode himself has pale makeup and dark circles round his eyes, which connote illness and assure the audience they have the right stereotype for this group of characters. This image leaves the spectator believing that the character of Dode is ill. His complexion suggests he does not get much sunlight or nutritious food. The connotations of smoking cannabis are represented through this, and discourage the audience to follow his example, lest they begin to become like Dode.
In reference to props, the use of ‘joints’, a straw, trolleys and bins not only provide further contrast to Laura’s house and friends, but also link to much wider issues in society. The spectator is reminded of the poor and homeless, and concludes that this state of live is achieved through the taking of cannabis.
The contrast shown through mise en scene and sound between these to places and characters show a strong, and on the surface, moral undertone. Dode and his friends are homeless, poor, dirty, and brain damaged because they smoke cannabis. Laura does not, and she is show to have the life that is viewed as ideal within our contemporary society. However, it transpires that Laura is also a drug addict, but is partial to drugs in a much higher legal class, and far more damaging in the long term and shot term. The difference in damage and addiction between the two different types of drugs that Dode and Laura take leaves the spectator confused and wary; Laura clearly has a better life than Dode, but takes even more harmful and addictive drugs. The spectator is almost left to believe that Brick is glamorising the use of Heroine and Cocaine.
Brick uses sound and mise en scene to capture, maintain and inform its audience, as well as represent its characters. On a surface level, it seems to glamorise drug abuse, with the lavish and sophisticated life of Laura by example. The constant link between sex and drugs shown within the film would clearly make drugs an appealing option to most spectators. However, the representation of the characters, especially as they are portrayed through contrast (provided by sound and mise en scene), show an attempt to teach and to discourage the audience. Drugs are not presented, in their entirety, in a negative way, but the gateway theory of cannabis use is highly discouraged through the unappealing representation of those characters within in the text that use it. Young people who smoke marijuana are two to five times more likely to move on to harder drugs, and Brick attempts to combat the wider issue of inevitably moving on to harder and more dangerous drugs through the use of cannabis, by discouraging the latter.
Gripping and immensely intriguing, Brick achieves a moral, legal and health related message without patronising or insulting the spectator. Without the face value, ‘Don’t do drugs Kids!’ message, the film gains the popularity and trust of the audience, and leaves them discouraged from drug abuse, whilst feeling respected. This perfect medium is shown through the contrast provided by sound and mise en scene.
Use of sound in House of Flying Daggers
Analysis of the use of sound
House of Flying Daggers
Yimou Zhang
2004 China
House of flying Daggers uses both enriching colour and intriguing sounds to capture and maintain its audience. The smooth mixture of diagetic sound and non-diagetic music allows the spectator to follow what is happening, whilst forming opinions of the characters and situations.
The scene of the bamboo forest fight begins with silence. Mei has just left Jin and segregated herself in the forest, and the silence shows her isolation from the world. Diagetic sounds are introduced in the form of birds, to establish the setting to the audience. The effect of this is that the audience feels nervous because of the silence, as something is bound to break it soon. The spectator is also being manipulated to feel sad at her segregation, as this abrupt loss of music shows Mei’s emptiness at being separated from Jin, and so the spectator begins to wish that he will come looking for her, even though up until now he has been viewed a the bad guy.
The silence is then broken by the diagetic sound of bending bamboo and swords. This sudden change puts the spectator on edge as they are informed by the eerie swooshing of bamboo upon Mei that this is an enemy attack, not Jin re-appearing as hoped. Her loud screaming punctuates the quiet, and so the scene is filled with louder and fiercer sounds. The sounds of bamboo and of the blades of swords are exaggerated, and so the audience is put in Mei’s perspective, where her hearing would be heightened to try and protect herself, and also because she is believed to be blind.
The diagetic sounds of heavy breathing, punching, bamboo and swords are the only sounds, which mean the spectator has no non-diagetic music to distract them from the action on screen; the focus is fully on the fight.
The first non-diagetic sound is introduced in the form of a high pitched whistle. The sound is uncomfortably high, and so puts the spectator on edge. It is used as a re-affirming sound as well however, and seems to spur on Mei to fight harder, giving the audience hope. The sound also hints at another side to Mei. Throughout the film she has been shown without music, implying her life should be taken at face-value. However, the introduction of this strong, spurring sound suggests that there may be deeper layers to her character.
The diagetic sounds of the soldiers fighting (bending, climbing and sliding down bamboo, swords, heavy breathing and grunts) seem to reach a climax, which alerts the spectator to the end of the fight nearing. All sound suddenly drops to leave the audience, again, in Mei’s perspective, as she is shown (through sound) to be listening hard to predict the soldiers next movements. The spectator is in Mei’s perspective, so they are manipulated to be on her side, hoping for her prevail.
Non-diagetic music is finally introduced, as the camera follows Jin’s entrance. The audience are relieved to see him, as the music informs them that he is there to rescue Mei, not help the soldiers. The music is reminiscent of a halleluiah chorus, and so assures the audience that he will save the day. The music occasionally slips into minor chords, which also informs the audience that his arrival is bitter-sweet and is punctured with sorrow/regret.
The music contrasts with the diagetic sounds in the scene. The serene song that entered at Jin’s arrival seems strange whilst it is paired with the sounds of swords and war cries. This subtly suggests to the audience that all is still not what it seems, and that there will still be twists in the plot to come.
Finally, this non-diagetic music can be compared to that of Lord of the Rings. Both have a biter-sweet song playing as the main characters are running through a forest to escape an attack. This furthers the idea that sadness is destined to follow the bamboo forest fight scene in House of Flying Daggers, and the music prepares the audience for what is to come.
House of Flying Daggers
Yimou Zhang
2004 China
House of flying Daggers uses both enriching colour and intriguing sounds to capture and maintain its audience. The smooth mixture of diagetic sound and non-diagetic music allows the spectator to follow what is happening, whilst forming opinions of the characters and situations.
The scene of the bamboo forest fight begins with silence. Mei has just left Jin and segregated herself in the forest, and the silence shows her isolation from the world. Diagetic sounds are introduced in the form of birds, to establish the setting to the audience. The effect of this is that the audience feels nervous because of the silence, as something is bound to break it soon. The spectator is also being manipulated to feel sad at her segregation, as this abrupt loss of music shows Mei’s emptiness at being separated from Jin, and so the spectator begins to wish that he will come looking for her, even though up until now he has been viewed a the bad guy.
The silence is then broken by the diagetic sound of bending bamboo and swords. This sudden change puts the spectator on edge as they are informed by the eerie swooshing of bamboo upon Mei that this is an enemy attack, not Jin re-appearing as hoped. Her loud screaming punctuates the quiet, and so the scene is filled with louder and fiercer sounds. The sounds of bamboo and of the blades of swords are exaggerated, and so the audience is put in Mei’s perspective, where her hearing would be heightened to try and protect herself, and also because she is believed to be blind.
The diagetic sounds of heavy breathing, punching, bamboo and swords are the only sounds, which mean the spectator has no non-diagetic music to distract them from the action on screen; the focus is fully on the fight.
The first non-diagetic sound is introduced in the form of a high pitched whistle. The sound is uncomfortably high, and so puts the spectator on edge. It is used as a re-affirming sound as well however, and seems to spur on Mei to fight harder, giving the audience hope. The sound also hints at another side to Mei. Throughout the film she has been shown without music, implying her life should be taken at face-value. However, the introduction of this strong, spurring sound suggests that there may be deeper layers to her character.
The diagetic sounds of the soldiers fighting (bending, climbing and sliding down bamboo, swords, heavy breathing and grunts) seem to reach a climax, which alerts the spectator to the end of the fight nearing. All sound suddenly drops to leave the audience, again, in Mei’s perspective, as she is shown (through sound) to be listening hard to predict the soldiers next movements. The spectator is in Mei’s perspective, so they are manipulated to be on her side, hoping for her prevail.
Non-diagetic music is finally introduced, as the camera follows Jin’s entrance. The audience are relieved to see him, as the music informs them that he is there to rescue Mei, not help the soldiers. The music is reminiscent of a halleluiah chorus, and so assures the audience that he will save the day. The music occasionally slips into minor chords, which also informs the audience that his arrival is bitter-sweet and is punctured with sorrow/regret.
The music contrasts with the diagetic sounds in the scene. The serene song that entered at Jin’s arrival seems strange whilst it is paired with the sounds of swords and war cries. This subtly suggests to the audience that all is still not what it seems, and that there will still be twists in the plot to come.
Finally, this non-diagetic music can be compared to that of Lord of the Rings. Both have a biter-sweet song playing as the main characters are running through a forest to escape an attack. This furthers the idea that sadness is destined to follow the bamboo forest fight scene in House of Flying Daggers, and the music prepares the audience for what is to come.
Cinematography in Ghost World
Cinematography
The film ‘Ghost world’ uses a lot of cinematography to help the audience to understand and relate to the characters. Most of the camerawork is done in rapid, changing motions so as to signify the rapidly changing lives that Enid and Rebecca have been thrown into by growing up and leaving high school.
The camera begins this sequence by pointing slightly diagonally upwards at Enid, as though we are in the frame, looking at her ourselves.
This scene is towards the end of the film. Enid is proving to Seymour how much he has meant to her by showing him the contence of her sketches – him. This scene is done in a rapid shot-reverse-shot montage which begins with Enid and is compiled of a shot of a sketch, and then Seymour’s reaction to it.
The next time the camera raises to see the reaction of the characters, it shows Enid and Seymour together. It is a centre side shot which places them both in the middle of the frame.
The camera looks diagonally downwards at the sketch book.
The effect of this shot places Enid with a slight authority over us, and over the other character, Seymour, who is in the frame.
The effect of this shot-reverse-shot is mirrored throughout the film, and signifies the speed and intensity with which Enid and Seymour’s relationship grew. This scene is the parting scene for the two, and so their good byes are done in the manner in which their whole relationship was done.
Throughout the film the camera has mostly followed Enid, and this centre side shot which places both of them with equal value, shows that Enid has grown. She is no longer childish and attention seeking, but understands others value and worth.
This is done to signify where Seymour’s eyes are looking. When the camera is looking at Seymour, it is as though we as spectators are in the frame, and are looking at him ourselves. But when it reverses, it shows us the scene through Seymour’s eyes.
This shot allows us to follow Enid. We have followed her trail throughout the film, and the film feels fully concluded as we repeat the action to watch the finale. It is a simple camera movement, and ensures the spectator feels involved with the character and effectively concluded.
Finally, the camera cuts to Enid
walking out of the hospital where she is visiting Seymour. It pans with her as she approaches Rebecca, her friend, and follows her journey to the bench
.
The film ‘Ghost world’ uses a lot of cinematography to help the audience to understand and relate to the characters. Most of the camerawork is done in rapid, changing motions so as to signify the rapidly changing lives that Enid and Rebecca have been thrown into by growing up and leaving high school.
The camera begins this sequence by pointing slightly diagonally upwards at Enid, as though we are in the frame, looking at her ourselves.
This scene is towards the end of the film. Enid is proving to Seymour how much he has meant to her by showing him the contence of her sketches – him. This scene is done in a rapid shot-reverse-shot montage which begins with Enid and is compiled of a shot of a sketch, and then Seymour’s reaction to it.
The next time the camera raises to see the reaction of the characters, it shows Enid and Seymour together. It is a centre side shot which places them both in the middle of the frame.
The camera looks diagonally downwards at the sketch book.
The effect of this shot places Enid with a slight authority over us, and over the other character, Seymour, who is in the frame.
The effect of this shot-reverse-shot is mirrored throughout the film, and signifies the speed and intensity with which Enid and Seymour’s relationship grew. This scene is the parting scene for the two, and so their good byes are done in the manner in which their whole relationship was done.
Throughout the film the camera has mostly followed Enid, and this centre side shot which places both of them with equal value, shows that Enid has grown. She is no longer childish and attention seeking, but understands others value and worth.
This is done to signify where Seymour’s eyes are looking. When the camera is looking at Seymour, it is as though we as spectators are in the frame, and are looking at him ourselves. But when it reverses, it shows us the scene through Seymour’s eyes.
This shot allows us to follow Enid. We have followed her trail throughout the film, and the film feels fully concluded as we repeat the action to watch the finale. It is a simple camera movement, and ensures the spectator feels involved with the character and effectively concluded.
Finally, the camera cuts to Enid
walking out of the hospital where she is visiting Seymour. It pans with her as she approaches Rebecca, her friend, and follows her journey to the bench
.
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