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Sandhog’s follower,Nary and the mutual attraction sparks a forbidden romance between a widow and a commoner. The religiously-minded Smalltalk is a mother figure for Cauchy and Kali and provides them with direction and support; Smalltalk is knowledgeable, unlike many of the other widows. Cauchy and Kali are the primary fugues in the film and from their friendship stems a happiness and unexpected disappointments. Given their younger ages, both have the most to learn from life. The video of “Water” is shot in crisp colors and purposely tinted in hues of green and blue throughout the film.
The sets are accurately recreated in the scenic locals of Sir Lankan; special mention goes to the design of the ashram. Shadows and darkness are contrasted perfectly by cinematographer Giles Nutmegs. As stated in the special features, Meta wanted to contrast the plain unpleasantness of the widows existence in the ashram with visual beauty. Nutmegs’ able hand in experimenting with lighting has accomplished Meat’s vision and provided the film with a stunning palette of colors. His approach is most interesting because of the inventive technique he and Meta mastered over the course of the film’s production.
Rather than storyboarding the film with exact framing prior to shooting, Nutmegs would base his framing on the atmosphere Meta created with the actors during rehearsals. The decision to supplement the gloom of the widows lives with beautiful cinematography is often questionable throughout the film–especially if one desires an entirely realistic vision of Indian’s slums. But, in choosing to shoot the film in such a way, Meta only enhances her decidedly hopeful themes. Run Lola Run (Editing Review) In the film, much cutting was used during scenes that represented the action/thriller mere.
The fragmented cuts kept the audience in the action by incorporating the feeling of suspense, for the audience doesn’t know what would come up in the next cut. Run Lola Runs plot order differs from the basic narrative order and instead had one story retold three times with different outcomes. The director uses a recurring scene, in which the two are placed in a red room, discussing their love. This scene was placed to connect the three runs. Len those runs,Lola encountered events that ultimately changed the course of the film and finally ended up solving the imbalance hat caused trouble in the first place.
The scene selected was characterized with an Hinduism By mischance as well as rhythm, pace and timing. The editing technique used on this scene is montage sequence as one incident is connected with what the characters are saying. The scenes fall properly on places as dialogues are spoken at the exact rate. It give the audience to have a brief narrative of what happened. Using montage sequence in editing primarily works and directed for a condensed cinematic description. To enhance the effectiveness of this montage and also the mood as applied in the pacified scene, background music was added.
The actions were repeated twice particularly relating the experiences of different characters. Editing cuts back and forth among immediate story strands. As the narrative develops, a more detailed and organized sequence is presented Just to give the audience the complete ‘slice of the cake’. This type of continuity was argued to be short-lived. Yet it explores on the potentialities of trying something else like the “meanwhile” or crosscutting narration, where the editing employed a repeated, partly covered continuity around the given mime and space.
For example, the idea of using the shots of the train moving were not choreographed in any clear-cut continuity as simultaneous action takes place. The elements of style that are most noticeable to the viewers are the camera placement, movement, connection of foreground and background people or things, light, and sound. Even if the film contained numerous transitions, the editing is reasonably slower towards the closing stages of the film. Although the editing is noticeable on the particular scenes due to the montage sequence, the film editors considered the moth flow of the story from beginning to end.
Dancer in the Dark (Sound Review) The film “Dancer in the dark”, directed and written by Lars Von Trier certainly an interesting film to analyses from a sound-design perspective. The protagonist is blind and, therefore, modifies what can be considered significantly dietetic. The graphical score would seem to show a very dense design, which, actually, is not that confusing, because the overall volumes are very low and are carefully layered in terms of spatial depth perception. The overall feeling is more that of a counterpoint ,because many audio-audio and audio-visual associations interact in many ways.
In fact, this scene involves the audience with many modes of listening at the same time. The blindness forces a reduced and causal mode. Speech induces semantic listening. Abrupt cuts and unexpected sounds cause reflexive listening. The repetition of the door slamming stimulates connotative -associative listening. In fact, when we hear the sequence of thuds and steps for the second time we understand that it this means that the prison officers are coming back for her. This is the reason why she starts bobbing before they actually enter the room.
The focus on the background buzzes and the change from monophonic to surround forces empathetic listening. Also, the designer doesn’t help so many styles simultaneously, but rather pushes only a few at a time. For example, there is nearly no speech up to the end of the scene and there are no concrete foreground sounds during the buzzes. This has the consequence of creating a good balance between a rational and conscious understanding of the scene and a more irrational and unconscious reception. Narrative less important. In fact, the background buzzes are emotionally more important.
Therefore I think it is important to observe the background sounds. Throughout the scene there is a persistent tape-noise-like background. This is probably used to create a fundamental noise and, so, to show the contrast with the “pure silence” of the final scene of the film. In fact, when she is executed in the final scene, we hear the revere of her falling down and then only “digital silence”, which sonically conveys the idea of “death” to the viewer This is conveyed both by the speeding up and by the slowing down of the audio- usual cuts, but also by the rhythmical disposition of sounds.
The most important “phrasing” element is the step, heard throughout the scene and shown only as the scene is finishing. The steps, and most of all the first of the “107 steps” are what really help the understanding of the passing of time. In fact, time is metronomic-ally described by the life span of each step sound and the pauses between them. This is confirmed by the fact that Selma uses these sounds to help her daydreaming and, so, to forget about her sorrows and her destiny. This is the reason why, when she is left y herself in the last-meal cell, we hear only synthetic buzzes.
The absence of rhythm in buzzes makes it impossible for her to daydream, as she said in a”previous scene”. In addition, the absence of rhythm takes away all cues to how much time is passing. However, the phrasing is also conveyed by the emphasis of vocal sounds, both in rhythm and performance, and by the use of very variable reverberation, which gives an unusual spatial perception and, consequently, a psychological message through each sound. This technicality, accentuated also by the final use of surround, is used, cause Selma has to do only 107 steps, before she reaches her execution cell.
Hence, the unrealistic nature of the steps stresses her impending death and her attempt to escape reality. This resembles in many ways the “music of destiny’ technique, typically used to anticipate a death scene (Chino 2009). This becomes more obvious when the counting actually becomes the reason why she starts imagining a musical number. She has finally found a rhythmical sound to make her mentally escape. Even if this sound stands for her death, her optimistic attitude towards life makes her give an ideal meaning to them.