Short Film - Nowhere to Turn

"Nowhere to Turn" A short film I directed and just finished editing today. Let me know what you think.

Short film inspired by the Lumière brothers.

The brief : To make a short film inspired by the work of the Lumière brothers. It must be one take with no cuts or edits, be about 1 minute in length and begin with an old fashioned style title card.

The process: We worked in a group of 5 and took turns directing the other members of the group. I chose to direct two members of my group in a short story of unrequited love or "L'amour non partagé" as the French say. Once filming was done I used Adobe Premiere Pro to add the title cards, speed up the film and change it from colour to black and white. I also added music which I downloaded from www.bensound.com a really useful site for royalty free music.

The result:

Please leave your comments & let me know what you think.

Hero (2002) Analysis *Spoiler Alert*

Story & Narrative

“There was a discussion once whether this film should be called Hero or Heroes. I think that’s an important choice.” – Christopher Doyle, cinematographer on Hero.

The narrative structure of Hero (2002), inspired by Rashomon (1950), is highly unusual as it gives three different versions of the same story. Each version is colour coded, one red, one blue and one white with a black themed framing device and a flashback in green.

The film begins with an opening scrawl, giving the audience some historical context for the film. Set two thousand years ago during the warring states period we are told that it is a time of death and suffering for the populace. The score begins with Japanese drums and traditional Chinese stringed instruments. The first images we see are of horse's hooves reminding us of a more primitive time before modern technology. We see mountaintops and soldiers in ancient armour carrying banners. From the very beginning we are shown the military might of the King of Qin.

We are introduced to the protagonist. Orphaned at an early age his background is a mystery. He had no name so people called him Nameless. After ten years of sword training he has acquired a unique skill and his deeds have amazed the Kingdom. What skill has he acquired and what deeds has he performed? He has apparently killed three of the King's deadliest foes Sky, Flying Snow and Broken Sword. The King of Qin is surprised a lowly official managed to defeat three highly skilled assassins. This mystery becomes the basis of the film.

Looking at the opening I discerned a number of binary opposites

Exterior - Interior
Light - Dark
Individual - Group
Powerful - Weak
Clothed - Naked
Near - Far
Armed - Unarmed
Informed - Uniformed
High - Low

In Chinese philosophy the concept of yin and yang teaches that everything contains dualities, light - dark, young - old, feminine - masculine etc. Together these forces are greater than when separated and one is incomplete without the other.

The whole film could be seen as one long action code. One of the most unusual aspects of the action sequences is that many of them only take place in the minds of the characters. The fights therefore are overtly symbolic. The blue sequence for example exists only in the imagination of the King. He imagines this fight took place not because of a mutual hatred but because of a mutual respect between the two men and a respect for Flying Snow. The fight resolves without a winner. They are content simply to go through the honourable motions.

The problem with applying Propp's theory of character roles on the film Hero is deciding who the hero of the film is. Each character is heroic in their own way. As the story progresses the points of view of the characters change so that the line between hero and villain becomes blurred. Nameless is the protagonist so might viewed as the titular hero. The villain therefore would be the King who he plans to kill but by the end of the film Nameless gives up his desire to assassinate the King and is himself killed. Sky, Flying Snow and Broken Sword might all be seen as donors as it is by gaining their weapons that Nameless gains an audience with the King. In the red version Flying Snow could be seen as a villain but in the blue she is a helper. In the final white version she has attributes of both. By the end of the film three of the main characters are dead, having sacrificed their lives and former desires for a greater good.

The character of Nameless starts off with a plan to avenge his family by killing the King of Qin but by the end of the film he has done a complete 180. His old equilibrium, his desire for vengeance is replaced by a new equilibrium, his desire for peace. This dramatic change was influenced by the character Broken Sword who goes through a similar change himself. Broken sword and Flying Snow start off wanting to kill the King. This shared goal bonds them and they become lovers. However after practising swordplay and calligraphy for some time Broken Sword comes to a realisation. He decides that the King should not be killed because he is the only person who can bring peace to the land. His new equilibrium forces a rift between him and Flying Snow. All three characters start off vengeful but after a period of disequilibrium they each decide to give up their own life. Their noble deaths become their new equilibrium.

https://www.youtube.com/watch?v=KeTBqolcrO8

Casting

Following very much in the mould of Crouching Tiger, Hidden Dragon (2000), Hero uses a number of non-action actors in action roles. In fact Jet Li and Donnie Yen are the only two martial artists in the film.

Jet Li is the only actor mentioned in the US trailer. His last five films prior to Hero averaged around $17,000,000 out of the gate and he was the most familiar face in the film to Western audiences. Before moving into film Jet Li was a martial arts champion winning 15 gold medals in his sport.

Donnie Yen also trained in martial arts from a young age and was chosen by Jet Li for the character of Sky. The fight between the two stars was much anticipated by fans of martial arts films. The last time the two had fought onscreen was in Once Upon a Time in China II (1992) a successful sequel in Hong Kong that managed to exceed the original’s box office takings.

Tony Leung and Maggie Cheung are both Cannes Award Winning actors. They had previously starred together in Wong Kar Wai’s In the Mood for Love (2000) which ranks as one of the most critically acclaimed film’s of all time. The relationship between their two characters is integral to the plot of Hero and adds some emotional depth to the visual splendour.

Zhang Ziyi was a trained dancer. Her first major role was in Zhang Yimou’s The Road Home (1999). She later starred in Crouching Tiger Hidden Dragon.

Colour

“Part of the beauty of the film is that it is one story coloured by different perceptions.” – Christopher Doyle.

Colour is central to the aesthetic of the film and is one of its most memorable aspects. Director Zhang Yimou, who himself trained as a cinematographer, was incredibly exacting. He reportedly had the horses painted black to match the soldier’s armour and employed Mongolian nomads to gather yellow leaves and separate them into four different classes of quality. In the green sequence the colour of the curtains hanging in the King’s hall had to be digitally altered to achieve the exact shade Yimou wanted.

https://www.youtube.com/watch?v=p9keMBIyPnA

Costume

“A Hero is independent and solitary. He is the one who lives for one's country. He has a superior ability but he is also a human being of flesh and blood.” — Emi Wada costume designer on Hero.

All the costumes in the film were manually dyed. The colours used were so central to the film that the Cinematographer changed the type of film he used during the red sequence to fully represent the shade of saturated red. The black costumes of the King’s courtiers and soldiers removes their individuality. They are one black mass and even speak as one. Their collectivist nature contrasts sharply with the individuality of the main characters.

Such is his fear of assassination that the King wears his armour at all times. Compare this with the characters of Broken Sword and Flying Snow who wear long, elegant gowns. The flowing material of their costumes accentuates the grace and beauty of the actors during the fight sequences.

https://www.youtube.com/watch?v=2eXbS-qG2GA

Hair & Make-up

Colour is not the only way in which the different stories are delineated. Looking specifically at the characters of Flying Snow and Broken Sword we see subtle changes in hair & make-up in each colour coded sequence. For example in the red version both characters wear there hair loose and side parted so that often only one eye is visible. This gives them a sense of mystery and seductiveness. Flying Snow’s make-up is particularly bold with bright red lipstick and prominent black eyeliner. In the red section the characters are at their most passionate and emotional.

In the blue section both Flying Snow and Broken Sword have their hair tied back. Flying Snow has an especially intricate style. The character’s as they appear in this segment are dignified and full of valour. The eye make-up is subtler and the lipstick a more muted shade.

In the white segment flying Snow’s hair is only half tied back. The make-up in this section is the most natural which is fitting as this is the real version of the tale, the naked truth.

Setting

The film is truly of epic proportions. From the lakes of Juzhaigou to the deserts of Western China and the forests of Mongolia, 60% of the film was shot outside. Many of the locations were remote and difficult to film in, for example the crew had to get up at 5am and travel 2 ½ hours to reach the lake in the blue sequence. Zhang Yimou wanted to film when the water was still which was only between the hours of 10-12. It took over 20 days to film!

https://www.youtube.com/watch?v=57TliyF8MFI

The vibrant beauty of the natural world is contrasted sharply with the cold, stark, colourless interior of the King’s court. At the time of filming the King’s palace was the largest movie set ever made in China.

Soundtrack

“Great film music is supposed to be words or meaning that the director wants to say but he has no way to say it.” -Tan Dun, composer on Hero.

Before working on Hero Tan Dun had composed symphonies and operas and won an Oscar for his work on Crouching Tiger, Hidden Dragon (2000). The score seamlessly blends the sounds of Japanese drummers Kodo, the violin virtuoso Itzhak Perlman and Liu Li who plays the guqin a traditional Chinese instrument.  

Almost as important as the musical score are the diegetic sounds that appear in the film. The sound effects are crucial in the fight scenes to convince the audience that each blow really lands.

https://www.youtube.com/watch?v=AeeoEpmyb2Y

Conclusion

“A few years later if someone mentions Hero you are going to remember the colours. You are going to remember in a sea of golden leaves two ladies dressed in red are dancing in the air… on a lake as still as a mirror two men are using their swords to convey their sorrow… like two dragonflies.” – Zhang Yimou, director of Hero.

This film is visually stunning, emotionally moving and a real pleasure to watch. It is pure cinema. The combination of all the aforementioned elements under Zhang Yimou’s exacting eye makes it one of my all time favourite films. It is a truly unforgettable film.

WritersCafe

http://www.writerscafe.org/

An English student put me onto this site. It's an online community for writers. Will add a link to my profile in the links section of this blog.

Barthes Action Codes in Hero (2002) *Spoiler alert*

An action code is a device in which action is used to produce a resolution. Hero is an interesting film to apply this theory to not merely because it has many well choreographed fight scenes but because several of the fight scenes are completely imagined and symbolic and the resolution at the end of the film involves the triumph of non-action over action. Here I will attempt to decode 3 of the film's fight scenes.

Nameless vs. Sky

In the first major action sequence we see the protagonist nameless battle against the assassin Sky. According to Nameless, who narrates the sequence, much of the fight occurred only in the minds of the participants. The black and white sequence symbolises this mental battle of wills. However later on in the film we learn that Sky willingly let Nameless win in order for him to get close to the King of Qin. The fight was staged to convince the King's guards that Nameless was his ally when in truth he is his enemy.

Nameless vs. Broken Sword

The King believes that after Nameless defeated Flying Snow he fought another mental battle. To complicate matters further we learn that this fight never took place because Flying Snow is in fact still alive. Therefore this fight exists only in the imagination of the King.  In the documentary Hero Defined director Zhang Yimou describes it as "Two men using their swords to convey their sorrow." The King was impressed by Broken Sword and Flying Snow's valour and dignity. He imagines this fight took place not because of a mutual hatred but because of a mutual respect between the two men and also out of respect for Flying Snow. The fight resolves without a winner.

Nameless vs. King of Qin

The King comes to the realisation that the ultimate ideal for a warrior is to feel hatred or the need to use a sword. He then throws his own sword towards Nameless and turns his back, willing the assassin to kill him. However Nameless chooses not to kill the King despite knowing that this means he will die. He asks the King not to forget the ultimate ideal. The resolution in this scene is one of peace brought about by non-violence. 

Editing - Hero vs. Bourne

An interesting comparison of the use of editing. A fight scene from both Hero and The Bourne Identity are contrasted, comparing number and length of shots. Personally I like the editing in Hero better as you are able to appreciate and understand the action more. However the trend in Hollywood seems to be for faster editing because it is more immersive and frenetic.

Cinematography in Hero (2002)

Narrative Theory - Hero (2002) Opening

Barthes

Enigma Code: At the beginning of the film we are introduced to the protagonist. Orphaned at an early age his background is a mystery. He had no name so people started calling him Nameless. He tells us that after ten years of training with swords he has acquired a unique skill and that his deeds have amazed the Kingdom. What skill has he acquired and what deeds has he performed? He has apparently killed three of the King's deadliest foes Sky, Flying Snow and Broken Sword. The King of Qin is surprised that Nameless just a lowly official managed to defeat three highly skilled assassins. This mystery becomes the basis of the film as we are given three different versions of events.

Cultural: The film begins with an opening scrawl which gives the audience some historical context for the film. Set two thousand years ago during the warring states period we are told that it is a time of death and suffering for the populace. The score begins with Japanese drums and traditional Chinese stringed instruments. The first images we see are of horse's hooves reminding us of a more primitive time before modern technology. We see mountain tops and soldiers in ancient armour carrying banners. From the very beginning we are shown the military might of the King of Qin.


Levi-Strauss

Binary Opposition: Levi-Strauss believed that our understanding of certain concepts relied on our understanding of it in relation to it's opposite. Binary opposites are commonly used in films, good guys vs bad guys, cowboys vs Indians, aliens vs humans. In Hero (2002) the character's relationships between each other are complicated by the fact that we are given three different versions of the same story and the characters in each version have different relationships with each other. Nevertheless looking at the opening I could still discern a number of binary opposites

Outside - Inside
Light - Dark
Individual - Group
King - Servant
Powerful - Weak
Clothed - Naked
Near - Far
Armed - Unarmed
Informed - Uniformed
High - Low

In Chinese philosophy the concept of yin and yang teaches that everything contains dualities, light - dark, young - old, feminine - masculine etc. Together these forces are greater than when separated and one is incomplete without the other.

How to attract an audience - Hero (2002)

Hero (2002) is an epic Chinese martial arts film directed by Zhang Yimou. The film was a huge success in Asia but took two years to reach the Western market. I will be looking at who the audience for the film was and how the film was marketed to attract that audience.

A martial arts fantasy film was a surprising choice from critically acclaimed director Zhang Yimou but perhaps less so after the huge worldwide success of Crouching Tiger, Hidden Dragon. Zhang Yimou part of the so called fifth generation of film makers from China had previously been known for smaller scale art house films (such as Raise the Red Lantern) which had enjoyed only limited theatrical. His earlier work had enjoyed critical success in the West with most grossing around $2,000,000 (successful by foreign language standards.) Hero however went on to break August opening weekend records in the States, somewhat a surprise considering it was a two year old, subtitled, period piece.

The film had already been circulating in America on imported DVDs and the release date had been shuffled several times despite the fact it was nominated for Best Foreign Language Film at the 2003 Oscars. Despite this the film went on to break August Opening Weekend records in America. According to studio exit polling the film's audience were 60% male with majority being aged between 20-30. Looking at the film's trailer we can see how Miramax used the power of association to entice filmgoers.

The film belongs to a long tradition of martial arts films known in China as Wu Xia or often in the west as wire-fu due to the extensive use of wire work in the fight scenes. According to Box Office Mojo the top 10 grossing wire-fu movies are -

1. The Matrix Reloaded
2. Mission Impossible 2
3. The Matrix
4. The Matrix Revolutions
5. Crouching Tiger, Hidden Dragon
6. Charlie's Angels
7. Charlie's Angels: Full Throttle
8. Kill Bill Vol.1
9. Kill Bill Vol.2
10. Romeo Must Die

Hero sneaks onto the list at number 11.

The film's US trailer mentions its award winning director and associates itself with Crouching Tiger, Hidden Dragon by way of it's producer. Jet Li star of Romeo Must Die is the only actor mentioned in the trailer. His last five films prior to Hero averaged around $17,000,000 out of the gate and he was the most familiar face in the film to Western audiences. Perhaps most surprising of all is the inclusion of Quentin Tarantino who, we are told at the beginning of the trailer, 'presents' the film. Though not involved in making the film in any way Tarantino was instrumental in helping to bring the film to a wider audience. The trailer for Hero was shown before both Kill Bill 1 & 2 and Miramax's head of worldwide public relations stated that "You couldn't get a better marketing tool for Hero than to attach the trailer to Kill Bill." Thus we see through shrewd advertising the film being connected to 4 out of the top 10 highest grossing Wire-Fu films.

In conclusion I believe a combination of clever marketing, a bankable star, word of mouth and a smattering of critical acclaim managed turned into a recipe for success with Hero grossing $177,394,432 at the worldwide box office.

Narrative Structure - The Ending of Hero (2002) *Spoiler Alert*

Todorov

By the end of the film three of the main characters are dead, having sacrificed their lives and former desires for a greater good.
The character of Nameless starts off with a plan to avenge his family by killing the King of Qin but by the end of the film he has done a 180 and decides to let the King live. His old equilibrium, his desire for vengeance is replaced by a new equilibrium, his desire for peace. This dramatic change was influenced by the character Broken Sword who goes through a similar change himself.
Broken sword and Flying Snow start off wanting to kill the King. This shared goal bonds them and they become lovers. However after practising swordplay and calligraphy for some time Broken Sword comes to a realisation. He decides that the King should not be killed because he is the only person who can bring peace to the land. His new equilibrium forces a rift between him and Flying Snow.
After Flying Snow discovers that Nameless has failed in his quest and been executed she blames Broken Sword. She believes it is his influence that has caused Nameless to waste his opportunity to assassinate the King. Broken Sword's failure to assassinate the King and his influence over Nameless causes a disequilibrium for Flying Snow. In a state of rage she attacks her former lover, knowing however that he is a more capable fighter than she is. Broken Sword however drops his weapon mid fight and is mortally wounded by Flying Snow. She immediately feels remorse at what she has done and asks him why he did not defend himself. He replies that he wanted to prove his love for her. Overwhelmed by grief and no longer angry, Flying Snow kills herself.
All three characters start off vengeful but after a period of disequilibrium they each decide to give up their own life. Their noble deaths become their new equilibrium.


Propp

The problem with applying Propp's theory of character roles on the film Hero (2002) is deciding who the hero of the film is, especially when we are presented with three different versions of the same story. In an interview on the film's DVD the cinematographer Christopher Doyle mentions that there was a discussion about whether the film should be called Hero or Heroes as each character is heroic in their own way. As the story progresses the points of view of the characters change so that the line between hero and villain becomes blurred.
Nameless is the main protagonist so we might view him as the hero of the film's title. The villain therefore would be the King who he plans to kill but by the end of the film Nameless gives up his desire to assassinate the King and is himself killed.
The main story is told in three different versions and character roles change with each version. For example in the red version of the story Nameless fights against Flying Snow as her enemy but in the blue version she willingly sacrifices herself to help Nameless achieve his ultimate goal. Therefore in one version she is a villain but in another she is a helper.
Sky, Flying Snow and Broken Sword might all be seen as donors as it is by gaining their weapons that Nameless gains an audience with the King.

Multi-camera

Multi-camera Production.

Firstly the teacher handed out copies of news stories and we read through them as a class. We then broke up into smaller groups and began putting the stories in order the we thought they should be read. Afterwards we came back together as a class and cut down the stories, removing any superfluous information to decrease runtime. We then practised reading through the stories before taking it in turns to record them.


When it was our group's turn the two

presenters sat at the desk in front of the cameras had their mics attached to their clothing and did a soundtrack. The vision mixer set up the titles, pictures and background as well as checking eye levels, focus, white balance and framing. When the crew were ready the floor manager asked the audience for quiet and did a countdown before the recording began. The presenters read the stories whilst the cameras recorded them and the vision mixer chose between the three different cameras and added pictures.



I thought we worked efficiently as a team, making good use of the time we were given. If I were to improve things I would have edited the stories during the first read through and perhaps sent only one person to source an additional story instead of the whole group. I also would have used a teleprompter as it was difficult to read and look up at the camera and given the presenters and crew earpieces to enable easier communication.

Mise-en-scene - Design a room

The room I have chosen is one for a businessman in the year 2012.


I imagine a businessman would have a clean, clutter free apartment with lots of clean lines and sharp edges. The colour palette would be quite dark, blues, greys and blacks. I imagine large glass windows from floor to ceiling which look upon a cityscape. I would include lots of high end, top quality gadgets and technology, a mac computer, flatscreen or projector TV, blu-ray player etc.


Decoration would be minimal with little in the way of soft furnishings Settees would be made of black leather. I would leave the walls mostly bare with perhaps a few artistic black and white photographs or modern art canvases. In the centre of the room I would place a black coffee table with black polished legs and sides.

The whole effect would be sleek, clean, cool and perhaps even a little cold.

The Use of Music in Film

Musical Score

Music is used to draw out or enhance the emotions in a scene, to hint at emotional cues for the audience or suggest an overall mood.  Songs are sometimes composed especially for a film. They can be used to emphasise the feeling of the piece or to give a sense of time or place. Sometimes anachronistic music is used which enhances the emotion of a scene but does not fit in within the time period of the piece for example the use of David Bowie's Cat People in Inglourious Basterds (2009). The use of modern music within an historical setting creates an interesting contrast. 

The Musical sequence I have chosen is from The Fall (2006).

The opening sequence consists of a series of slow motion black and white shots scored with the second movement of Beethoven's Allegretto from his Symphony No.7. I really like the way the flow of the music and the flow of the images work together. There is a balletic feel to the movement of the images and score. The scene opens in silence as a man's head appears from beneath the surface of a body of water. The music begins. A man appears walking through a cloud of smoke, a feather floats on top of the surface of the water, a man in Native American costume sits smoking, a prosthetic leg lies in the water with an arrow embedded in it. The images continue and there seems to be little connecting them at first, a series of random almost surreal objects and people. The scene is mysterious and the connection between all these images only becomes apparent later on in the film. The sequence is highly stylised and each shot is perfectly framed. The strong contrast of the black and white photography creates strong, indelible images.

The music sets the tempo of the sequence and the slow build up in the music slowly increases the tension of the scene. The instrumentation is sparse and the music is subtle and does not compete with the images. There is a constant froward motion in both the music and the images. There is a melancholy feel to it and the effect of the both the images and the score is very moving. I think it is a beautiful sequence and works wonderfully on it's own but takes on more resonance once the story in the rest of the film unfolds.



Science-fiction film Sountracks

E.T. the Extra-Terrestrial - 

John Williams, "Over the Moon."

String instruments create a sentimental, romantic mood. The fast tempo of the score fits well with the image of the boy riding quickly through the forrest. A close up on the alien's face coincides with the introduction of tinkling percussive instruments which gives the piece a magical quality. Suddenly the pair ride over a cliff but instead of falling they soar upwards, the music soars with them. The mood is optimistic and uplifting. Trumpets punctuate the score twice adding some drama to the piece. The boy and the alien fly past the moon and the music reaches its climax before the two crash land on the ground.

Star Wars Opening Credits -

 John Williams, "Star Wars Main Title."

A burst of trumpets appears simultaneously with the Star Wars logo the tempo is majestic. The fanfare of trumpets somewhat echoes the fanfare that appears with the 20th Century Fox logo prior to the opening credits. The music feels very heroic and adventurous, there is also a militaristic undercurrent which highlights the theme of warfare that appears throughout the film. After the military bombast the brass instruments are superseded by stringed ones and a romantic refrain is introduced into the score. The trumpets appear again but the tempo has slowed somewhat. The mood is an uplifting, triumphal one. The music builds one last time before segueing into another more tranquil piece of music which has an almost lullaby like feel.

2001: A Space Odyssey Opening credits -

 Richard Strauss's "Also Sprach Zarathustra."

The screen is black. The music begins with a single long drawn out note in a low tone. A sense of anticipation is created. We hear a horn, quiet at first. The pace is slow. Suddenly a brass fanfare is introduced followed by drums which create a driving rhythm. We see a reddish star appearing above a celestial body causing a white crescent to appear on it's surface. In contrast to the "Star Wars Main Title" the tempo is much slower and the piece is much more measured. The brass instruments appear again and a crescendo appears simultaneously with the name of the Director appearing on the screen. The red star rises further above the celestial body and the music becomes more sweeping and majestic with the brass instruments, the percussion and the strings all coming together in a dramatic climax.

Just For Fun! 

In case you ever doubted how important music and sound are to film check out the link below. The Star Wars medal giving ceremony just isn't the same with extras coughing, Chewbacca screaming and Luke's forced laugh. 

 

Indiana Jones and The Raiders of the Lost Ark

Director Steven Soderbergh recently removed the sound and the colour from Indiana Jones and the Raiders of the Lost Ark and added different music to highlight the use of staging. In his words he wanted people to

"...watch this movie and think only about staging, how the shots are built and laid out, what the rules of movement are, what the cutting patterns are. See if you can reproduce the thought process that resulted in these choices by asking yourself: why was each shot—whether short or long."

Follow the link to see the effect for yourself.

http://extension765.com/sdr/18-raiders

Touching the Void - Musical Analysis

The first image that we see is of Joe struggling to escape the crevasse at the start of his climb. The music starts off very rhythmic with lots of low tones. The tempo is quite fast. There is a rising sense as the music builds up. The escalation of the music matches the character's physical escalation as he climbs upwards.

There is a sudden cut from Joe's climbing to the mountainous landscape. Strings are introduced into the score. The mood of the piece becomes more grand and uplifting. It takes on a sentimental almost romantic feel. The change in music suggests a change in circumstance.

As Joe lies in the snow, having escaped the crevasse the music becomes quieter and the mood more tranquil. There are fewer instruments and moments almost of silence. The tempo has slowed down considerably.

As the camera pans round the landscape there is another change in music. Eastern sounding musical instruments are introduced into the score. There is a sinister quality to the music and a sense of mystery and uncertainty that matches Joe's emotional uncertainty about what will become of him.

Sound in film

Sound in Film

Glossary

• Diegetic Sound: Also called 'literal sound' or 'actual sound' is sound that originates from a source that is onscreen or a source implied to be present. It exists in the world of the film and characters that are present would be aware of it. Examples include dialogue of onscreen characters and sounds or music originating from onscreen sources.
• Non-Diegetic sound: Sound which doesn't originate from the action or objects onscreen for example voiceover narration, musical score or sound effects added for dramatic effect. Any characters onscreen would not be aware of the sound.
• Ambient sound: Sound which creates atmosphere or a sense of place.
• SFX: An acronym for Sound Effects. A sound effect is an artificially created or enhanced sound used in a motion picture.
• Mood: A sense of feeling suggested or created by the soundtrack.
• Tone: A combination of the pitch, quality and strength of a sound.
• Genre: a category or type of music e.g. rock, classical, jazz etc.
• Theme music: Theme music establishes the mood and signals the start of the film, it may recur and develop throughout the film. Individual characters might have their own themes which appear when they are onscreen indicating their presence and giving some sense of their personality. 
• Voiceover: Sometimes shortened to V.O. is the voice of a character who is not visible onscreen. Voiceover can include diegetic sound (e.g. the sound of a parent calling a child from another room) or non-diegetic (e.g. narration that is not heard by other characters onscreen.)
• Musical Score: Original music created for a film.
• Synchronous sound: A sound which occurs at the same time as an event onscreen reinforcing the effect.
• Asynchronous sound: A sound which does not match the visuals onscreen but might be included for atmospheric effect or to increase the emotional impact of what is happening onscreen.
• Contrapuntal sound: Sound which does not match or works against the visuals.
• Silence: Silence occurs rarely in film but can be used effectively to elicit a reaction from the audience or disorientate the viewer.
• Selective sound: When an element of sound is emphasised within a sequence.
• Sound bridges: Sound which is used to ease transition between different sequences.

Looking at the opening sequence of Sherlock Holmes (2009) we can detect a number of sounds, some diegetic and some non-diegetic. The first thing we hear is piano music. This music is non-diegetic as it does not originate from any instrument within the sequence. It conveys a sense of mood and the ragtime style of the piece helps us to identify the era of the piece. We hear a distant rumbling and the asynchronous sound of horses' hooves. The horses soon appear onscreen pulling a coach and so the sound of their hooves becomes synchronous. One of the horse's gives a shrill whinny, a jarring, unsettling sound. The sound of strings appears in the musical score, the tempo of the music increases as the pace of the onscreen action also increases creating a synchronous effect. The non-diegetic sound of rumbling also increases giving a sense of foreboding. The camera moves to the inside of the coach and we see police officers loading guns. The selective sound of the guns whirring and clicking emphasises the sense of unease which has been building, the characters are preparing for danger. Drums appear in the musical score adding rhythm to the music. The sounds of the horses and their rattling of their bridles continues. The tempo of the music matches the fast cutting of the visuals. A man appears running in front of the horses. The sound of his feet against the cobbled stones is audible. A crow caws and we see it fly away. Crows are often associated with death so this adds to the sense of foreboding and building tension. We see and hear another gun. The volume of the music increases. The man who has been running reaches a door we see and hear the door open and the clip dramatically concludes with a crashing noise.