Soundtracks In The Movie Industry Film Studies Essay

Soundtracks In The Movie Industry Film Studies Essay What are the major conventions and functions of the classical soundtrack, and how have these been challenged by filmmakers and composers working outside of this tradition? Soundtrack in the movie industry terminology is a contraction of the term sound track. This is an audio recording which is created or used in the film production industry or in post production. The dialogue, the music and the sound effects in a film have their own separate tracks i.e. the soundtrack, dialogue track and the music track. This mixed together are called the composite track. It is what is heard in the film. When a film is dubbed into another language, a dubbing track is created. This is also known as an ME (music and effects) track. It contains all the sound elements without dialogue. It is later supplied by a foreign distributor in the native language of the territory. This contraction soundtrack came into the public consciousness with the coming of the soundtrack albums in the early 1950s. The movie companies first saw it as a promotional gimmick for new films. The film is a visual medium and yet also like many of the other contemporary media it happens to be audio visual. It employs sound as an integral element of the sensual experience. The image predominance stems partly from the history of films. This was so until the mid 1920s, three decades after the motion pictures were invented that the technology became developed so as to produce films with recorded soundtracks. Film with recorded sound became standard so quickly after the first largely successful film was featured with soundtrack in 1927. We will analyze the traditional use of sound. What is the purpose and the effect of sound that is added to the image pictures? We will also analyze other alternative practices that exist and how they are used in conjunction with the common approaches to sound. It is not surprising that sound has been used to reinforce the classical cinema mode. This has shaped the techniques that are dominant in cinematography and editing. Sound will often increase the sense of presence and the immediate need. To be able to achieve this sound and the image must be closely related. They work together to achieve a meaning or an effect. Images and soundtracks in the film are two components that are distinct and are usually produced in part separately from one another. Due to the fact that there has been technological growth in sound capabilities audio recording and playback have really expanded. There has therefore been a tendency of rely more on postproduction of sound work as there has been increased technological advancements in audio recording and playback. There has been therefore great necessity to create an impression that the sounds that are heard are natural and are produced by the actions and the environments that are shown by the film. To achieve t his sound effect, it will serve to increasingly enhance the intensity of the sensual effects and also promote that sense of verisimilitude. Below are some of the ways through which the sound serves these two main functions. The main sounds that make a soundtrack are three. There is the human voice, sound effects and music. Music and the sound effects are the two most applied in the production of the heightened sensory experience. In the mainstream cinema, the sound effects are designed so as to reinforce the narrative realism. They may appear to be natural but in the real sense, along with the other sound elements, they are crafted with care so as to focus attention on some particular aspects of the image or the action and also to influence the response of the viewers to them. We can therefore conclude that sound effects do support a sense of realism. The dense and accentuated sound emphasis are associated with the key actions or the settings and do not necessarily provide the natural production of the sound one would hear in such a situation. In accordance to the prevailing sound film conventions, music does not follow the prescriptions of realism in similar ways. There are conventions which have background music that do not in any ways relate to the theme of the story. We in fact always expect musical score that goes hand in hand with film as a non digetic element. The academy awards do include categories for best score. If we do employ a number of the conventions and the conventions the moviegoers have planned to respond to this in a certain way. Claudia Gorbman is cited in his seminal work (Gorbman, seminal work- unheard melodies) explaining how the background music, or rather the score serves as the signifier of emotion in the cinema. A good example of this is the melodrama. A 19th century genre is an original, as suggested by the name à ¢Ãƒ ¢Ã¢â‚¬Å¡Ã‚ ¬Ãƒâ€¦Ã¢â‚¬Å"melo-dramaà ¢Ãƒ ¢Ã¢â‚¬Å¡Ã‚ ¬Ã‚  is a play that includes music as the essential element. The orchestra would be in place to accompany the play; the drama action would be interlaced with melodies that would function almost in the same way as the emotional punctuation. Any time the dramatic action would lead to a moment of sadness, the orchestra would be brought in the break in the dialogue and underscore the effects of emotion with a melody that is appropriate. When for example the drama gets to a climatic highpoint, a melody that is dramatic would come so as to help ratchet the suspense in the place. The melodramatic importance of accompanying music is now a standard technique both in the melodramatic films and for all the genres in the classical cinema. While the crucial function may as well be to guide and also enhance the emotional responses, the scores of music will as well contribute to that sense of continuity. This is central to classical cinema. This score will indeed help to smoothen over the necessary breaks and the gaps that are in the films continuity such as including the cuts from one scene unto the next, or even a jump in story over a given period of time. Music may be used to fill in the gaps that exist; it may repeat the musical intents to inculcate into the viewer the significance and/or the connection existing between the various events. In any of the instances, when music actually serves its purpose it does not intend to draw attention back to itself. As Much as classical style of editing of this continuity system tries to make the breaks and the gaps not to be seen, the score of music of the classical narratives of the cinema attempts to remain inaudible. In the instances when music functions according to these guidelines, it is following the tradition of continuity. CW serves to distinguish between the two traditions of film sound. This tradition of continuity will adhere to the principle of classical cinema, as we have realized in the topics highlighted previously, they are dominant in every area of film: an example, as the image presence is the dominating tradition in cinematography, or the temporal and the spatial continuity as primary objectives of the editing responsibility. Sound montage on the other hand will serve to free up sound from the subservient responsibility as company to the image narrative and allows it to stand in for right of itself. Instead of merging the soundtrack to narrative flow of images, the montage approach will divide the sound and let it to speak in separation, this provides distance to the story on the film, this will offer among many other things, the opportunity for a thought that is reflective or a critical analysis on the film events. We will go through the formal details of the sound, it is important to indicate how the montage techniques will work in concert with the common culture of continuity to yield a meaning or provide emphasis without altering the basic principle of the classical cinema. The topic of sound grants an opportunity to work with some concepts that are basic of the film form. Looking at some of these cases, the concepts can actually apply to the other film elements not related to sound. These terms which are discussed here are vital for utilization in the individual sequence analyses for week two films. This term synchronous sound refers to the parts of the soundtrack that do correspond in direct proportion and spontaneously to that which is happening on the screen. One of the most common examples of this is the normal dialogue. We do see the speaker moving their lips and the thing that is being said is usually heard at the same instance at the other end of the soundtrack. This will apply also to other sources of sound as well. The door will slam and we will hear the sound, the cannon will be fired and we eventually hear the blast. Speaking strictly, voices will perhaps be synchronous sounds although we may not see the lips moving. Giving an example, soldiers in a movie of war may be shouting and also screaming at the same time as they attack the position of the enemy. We actually do see the scene from a distant position; we do understand how to connect voices to the charging of the soldiers although we do not actually see the movement of their lips. For an example, a movie concerni ng journalists, we will hear the sound of the finger movement typing on the keyboard and the film will at the same time show a scene of the reporter and topic of coverage. These are good examples of asynchronous sounds. A point out is that some analysts will prefer the differentiation of the onscreen appearance and effects and at the same time the off-screen effects. Both sides of the set is fine, however the latter suggests the way synchronous is to be used in a specific sense when we are referring to the film sound. An example, in a conversation situation, the camera may be maintained on the face of first speaker although they may have already finished their speech and the present speaker is responding in an off-screen position. The man on the camera may choose to maintain the camera on the first speaker so as to show the reaction (could be the emotional reaction) to the response that is given. Though the words of the other speaker will be heard as they are uttered in narration or speech, they will come from off the screen and will technically be in consideration asynchronous of sound. Rather than to rehash the explanation, we will refer to the instance of sound, Apocalypse Now and then let you distinguish as to whether these sounds are synchronous or asynchronous and also an example of the parallelism. Opening sequence we see Willard lying in bed and from his subjective point of view see a shot of the ceiling fan above him, while we hear the chop-chop-chop sound of helicopter blades on the soundtrack. Is this synchronous or asynchronous sound and is it an instance of parallelism or counterpoint? [You will find the answer in the larger discussion of this sequence in the essay on Apocalypse Now. One of the other important distinctions which have wide use in the film analysis is that between diegetic and the non diegetic. Diegesis usually refers to the world of the films story. For example, when Annie sings a song at a nightclub, as she does twice in Annie Hall, the songs are diegetic sound. In Do the Right Thing there are several examples of diegetic music, coming directly from the radio station or from one of the various radios or boom boxes found in the film. At times, it is even hard to distinguish when the music is diegetic and when not. But a good example of when it is nondeigetic is the opening credits sequence, where Rosie Perez dances in changing settings, costumes, and lighting to Public Enemys Fight the Power. The song is actually heard many (one)times throughout this movie, most often diegetically, however in the opening scene, it is strictly non diegetic. Looking the other hand, I think we can assume that the Doors song The End in the opening sequence of Apocalyp se Now is diegetic.

The Grand Canyon Railway

One interesting feature of the southwestern United States is the area known as the â€Å"Four Comers. † the only place in the United States where four slates meet at one point. Within the 130,000 square miles of the Colorado Plateau in this region lie many wonders of nature. The plateau contains eight national parks, twenty national monuments, as well as numerous other nationally designated areas and huge tracts of national forests. This wealth of natural features and the cultures of the various Native American tribes in the region have made the area an important destination for tourists, especially those interested in natural history and culture. The â€Å"crown jewel† for this region is generally considered to be the Grand Canyon, one of the seven natural wonders of the world. This wonder of nature is 190 miles long, one mile deep, and between 4 and 18 miles wide. The Grand Canyon covers 1. 900 square miles of the Colorado Plateau and is home to 1,000 species of plants 250 species of birds and 70 species of animals. A number of Native American tribes are found in the region of the Grand Canyon, including the Hualapai, Hopi. Navajo and Havasupai (who live on the floor of a side canyon) The principal attraction to visitors is the sheer size and beauty of the canyon itself. The walls of the Grand Canyon are made up of many layers of rock, with widely varying textures, colors, and hues. This panorama of nature changes by the season, weather, and time of day. Generally, the morning and late afternoon offer the most striking views for visitors to the canyon. The South Rim in Grand Canyon National Park (Grand Canyon NP) is open year-round, whereas the North Rim (also in the park) is closed in winter. In the summer months, Grand Canyon NP becomes quite crowded with visitors and motor vehicles. Consideration is being given by the National Park Service to ban vehicles from the park and move visitors around the park by shuffle buses. Williams, Arizona, serves as one important â€Å"jumping off† point for visitors traveling to Grand Canyon NP, with the South Rim of the canyon only fifty-nine miles north of the town. Williams is closely identified with travel to the canyon and has even registered the trademark â€Å"The Gateway to the Grand Canyon,† which no others may use. At an elevation of 6,800 feet, Williams, by itself, has many attractions in the town and surrounding area such as lakes for swimming and fishing, horseback iding, and a downtown listed on the National Register of Historic Places. The surrounding Kaibab National Forest in the vicinity of Williams offers opportunities for camping, fishing, and hiking for both visitors and resident alike. The town has for many years been an important transportation hub for both rail and highway. Williams is closely identified with Route 66, also known as the â€Å"Mother Road,† that connected Chicago, Illinois and Santa Monica, California, long before the interstate highway system was developed. Williams has the last stretch of the original Route 66 bypassed by the interstate system (in this case, 1-40). Even before highways became highly developed, Williams has served as a railroad terminal (since 1882) for the forerunners of the Atchison, Topeka, & the Santa Fe Railroad (Santa Fe) the latter continues to serve the town today with freight-only service. The most popular way for visitors to get from cither Williams or Flagstaff (thirty-two miles to the east) to Grand Canyon NP is by motor vehicle, although the pending restrictions on vehicles might be expected to change this somewhat. An attractive alternative for some visitors is to travel between Williams and the Grand Canyon by rail. The Grand Canyon Railway (GCRy) offers this option with one round-trip per day. This rail service, which operates purely as a tourist railroad, began operations in September 1989 and has provided daily service since that day (except for December 24 and 25). Historically, rail service on this line began much earlier but passenger service was abandoned in the 1960s due to economic pressures from the automobile. Freight service from the Santa Fe was abandoned in 1974, with no work performed on the track between Williams and the Grand Canyon until 1989. The work to get the GCRy running was monumental, because all engines and passenger cars had to be acquired and completely rebuilt. In addition, the depot at Williams and the adjoining Fray Marcos Hotel were in need of substantial refurbishing. In the depot, operating offices, ticket offices, a waiting room, and souvenir shop are found. All of this work was accomplished in a span of seven months to be ready for the September 1989 opening. Today, the GCRy provides an interesting and nostalgic way for visitors to travel to the canyon. During the summer months, daily round-trip rail service is provided by steam locomotive, and in the winter diesel locomotives are used due to the severity of weather conditions. For all service, passengers travel in railcars that date from 1923 and are reconditioned to approximate that time period. Departure from Williams is at 9:30 A. M. and arrival at Grand Canyon NP is at 11:45 A. M. , in the center of the park's historic district at the 1910 Grand Canyon Depot. The train departs from the Grand Canyon at 3:15 P. M. and arrives back in Williams at 5:30 P. M. No smoking is allowed on the train in â€Å"any of the railcars. Reservations can be made by calling a toll-free number, 1-800-THE TRAIN. Information about the train ride, but not reservations, is available on the railroad's website, wvw. thetrain. com. Different classes of serviceareoffered to travelers, depending on the fare paid and the car in which a passenger rides. The basic coach service is priced â€Å"at $49. 50 per adult and $19. 50 per child. Snacks are available for purchase; Diet Coke and Coke are complimentary in this class, with the latter served in GCRy keepsake bottles. Club Class, which includes the availability of alcoholic beverages and complimentary coffee and pastries in the morning, is priced at an additional $14. 50. The Coconino Main Class provides recliner chairs, a full continental breakfast, appetizers and champagne in the afternoon and the availability of alcoholic beverages for an additional $49. 50 per person. Coconino Dome Class represents a further upgrade. The service level is the same as Coconino Main Class, but passengers ride in an upper level enclosed dome which provides unsurpassed views of the surrounding landscape. The highest class of service, Chief Class, is provided in a railcar with an open-air rear platform; complimentary continental breakfast, coffee, tea, and juice are provided in the morning and champagne and appetizers in the afternoon. This class of service is priced at an additional $64. 50 per person. For all classes, the entrance fee to Grand Canyon NP is an additional charge. Oilier services are also available from the GCRy for additional charges. Continental breakfast is served in the terminal for $5. 95 per person until the train departs. Narrated motorcoach tours of the South Rim of the Grand Canyon are available from the Fred Harvey Transportation Company (the concessionaire for Grand Canyon NP) of varying lengths, some of which include lunch. Packages are available which may include one or two nights at the Fray Marcos Hotel in Williams and one night at a hotel in Grand Ganyon NP. During the ride from/to Williams many natural and man-made venues can be seen. There is formal narration for some of these venues and a printed guide is available for purchase, which describes these sights and provides a history of the GCRy. Interestingly only a very limited view of the Grand Ganyon is available from the train just as it arrives at and departs from the park. In Coach Class, each railcar has an attendant who serves beverages (Coke and Diet Coke), goes around with snacks for sale, and engages in conversations with the passengers. During the summer, many of these attendants are college students on break from their studies. The Grand Canyon Railway uses costumed performers in a number of different ways to simulate an earlier time period. Before the train departs from Williams, performers stage an â€Å"Old West† gunfight, just as was found some 100 years ago, Performers also move among the railcars: often singing songs of the â€Å"Old West, during the trip to the Grand Canyon. Passengers are encouraged to sing along with the performers. All of the performers are costumed in the' type of dress found at the â€Å"turn-of-the-century. † On the return trip, the activities are slightly different. A group of performers stage a train robbery, just as was found during earlier times in the southwestern United States. Passengers are included in portions of the action, but none are actually robbed. Eventually, the sheriff captures the train robbers and takes them away to be put in jail. Passengers, especially younger children, enjoy this activity, which makes the trip back to Williams seem much shorter than it actually is. The other activity that some engage in is to take a nap, because many are fired due to their activities at the high altitude and in the low humidity of the Colorado Plateau. A recent survey conducted by the GCRy found that many passengers rate their train trip experience as excellent. Perhaps just as important, these passengers say that they would recommend the GCRy trip to friends. Additionally, the most satisfied passengers were likely to return again. Passenger satisfaction derives from the varied experiences received during the round-trip ride and the Grand Canyon itself wish the latter experience not under control of the GCRy but rather the National Park Service. ?This case was prepared by Dr. Fredrick M. Collision and is intended for classroom use. The situations portrayed here do not imply either effective or ineffective management on the pun of the Grand Canyon Railway. The cast: was written based on published materials of the railroad, the National Park Service, the, Williams-Grand Canyon News and the author's personal experience.

Crips and Bloods Made in America

To start with, a vast number of neighborhoods suffer from gradual increase of criminal activities. Black teenagers still build their own street-based gangs that provoke crime. Nevertheless, there are number of social theories that can explain such behavior.The documentary filmed by Stacy Paraeta, named â€Å"Crips and Bloods: made in America† reveal some vital facts about the reasons of criminal behavior in black neighborhoods. Different strain theories can also explain gang activity and gang violence. For instance, according to the documentary the black people often felt the sense of alienation and became culturally disorientated.White and black neighborhoods were separated and such distancing and hostility provoked a vast number of misunderstanding. In fact, the idea was not only a segregated society, but that blacks are inferior people and have to be treated as such, which contributed to development of self-hatred.Police was seriously controlling these borders. From 1950 ti ll 1956 the Los Angeles police department was commanded by Chief William Parker, who ran a police department as a military unit. He was extremely strict about preserving initial border lines between the neighborhoods. Thus, the cops were treating criminals as if they were animals in warfare.Such behavior and control enhanced the feeling of alienation in black American’s. There are invisible barriers and the primary job of police officers was to reinforce that barrier, because one was supposed to stay in his neighborhood Nevertheless, these tasks were brutal and violent.For instance, the people could have been shot by making the wrong turn into the wrong intersection. People were shot in the back, because police wanted to prevent looting. In this documentary, we hear the truthful words of African American, who said that this country uses violence whenever it chooses and then it legitimizes the violence.As a result, such violence increased the hatred of African Americans and ma de them feel inferior. As one man mentioned, they sent the message out that their lives had absolutely no meaning. This deep feeling of inferiority was gradually accumulated and had to be released.The man often wondered when and who get all this anger that was building up inside. The strain theory explains that deviant behavior is usually motivated by such restrictions. The blockage creates a strain that leads more people in the lower than in the upper classes to commit crimes.Strain falls especially hard on the lower classes. In fact, prior to World War two most of the black population lived in the south. Black people lived in the south because of the slavery and throughout the history they struggled and wanted to become the upper class citizens.World War II radically changed a black history, while black people were engaged in industrialization. Nevertheless, as the US economy moved to economy based on service and technology blacks found out that their skills do not fit in any of t hese demands, and they did not have the education or the training to obtain such positions.According to Merton’s theory, society establishes goals we all try to achieve – the goals worth striving for. Similarly, Black Americans cherished the idea of American dream and equal opportunities. They did not want to have the low-end jobs because they felt these jobs were jobs that American citizens should not have.Nevertheless, it was even impossible. According to the strain theory, although society establishes the goals, for some people, social structure blocks achieving them. Thus, black people could not even choose where to live, although they could afford it.For instance, in the LA county region, there was an effort to keep white neighborhoods free from blacks. Some times they wanted to keep the white neighborhoods free from any other race besides white. In addition, the factories gradually began to disappear and children overtime began to do worst than their parents.For the black in the ghetto the goal is surviving and a lot of people thought that crack was a way out. â€Å"Opportunity† is central to routine activities theory. The first variable identified in the list of crucial variables for the explanation of drug use is availability of the drug.For instance, in order to commit shoplifting, shops are essential, or car theft is impossible without an automobile. In short, opportunity to commit an offense as measured by available target is central to routine activities theory as an ecological theory and is completely compatible with â€Å"availability† as a crucial variable.The main reason of drug dealing lies in the social structure and their accessibility. In addition, the lower classes don’t have their fair share of opportunities to get rich by hard work. Social learning theories can also be used to explain gang membership.The social learning theories depend on the assumption that we’re blank states at birth and our pa rents, friends, teachers, religious leaders, and government write attitudes, beliefs, and values on our behavioral slates.In fact, the gangs that were internally created in black neighborhoods significantly shaped behavior of young males and enhanced criminal activity. Routine activities theory attempts to explain ecological variations in crime in terms of the availability and vulnerability of unguarded targets and proximity to motivated offenders.Variations can have a serious impact on criminal activities. For instance, in the presence of peers, deviant acts will be easier and more rewarding, the absence of authority figures also reduces the potential for social control responses to deviance; and the lack of structure leaves time available for deviant behavior.Thus, these gangs increased the feeling of alienation and hostility within the community. Criminal behavior, just like any other behavior, depends on our associations with other people. People were increasingly associating th emselves with particular territory and gang.Gangs have separated the geographic of the neighborhoods; even certain streets, alleys, schools and parks were claimed according to the gang. The gang was created to counterattack your enemy. It is also a matter of self-defense and a constant battle for superiority.The member of the gang will say they joined a gang not only for the protection but also for the family and for the love. The gang became a sort of family unit. In addition, state significantly contributed to such criminal behavior by legalizing guns. As youngsters in poor neighborhoods received their own guns, they joined gangs and started to threat and shoot each other.Parents also play a tremendous role in shaping values and behavior of their children. A lot of minds are messed up, because they do not have necessary parental support. In addition, there was an absence of the male father figure and role model in the home.Boys were taught to be men by fighting and killing each ot her. Young males were often misguided. As a result, a majority of African-American males were jailed or imprisoned. Unemployment provoked criminal situation. At the same time, these criminal activities are now being tackled. The grassroots movements are taking the first steps to battling the street violence.At the end of the documentary we hear wise words that summarize the whole movie. In our democracy we have the resources for the richest country on earth and it is absolutely outrageous, it is inexcusable that we have failed to meet the most elementary test of what it means to be fellow citizens and build a community.Therefore, the main ingredient of success is to start caring about other people. All in all, â€Å"Crips and Bloods: made in America† is a documentary that provides valuable information about criminal activity that can be backed up by social theories.Strain theories can perfectly explain gang activity and gang violence. Thus, diverse constrains, such as extreme police control or restricted borders enhanced hostility within black communities and accumulated hatred that was later exercised in the form of violence.Social learning theories also prove that the lack of effective parental control negatively impacts young boys, who join gangs from the young age. Overall, there are many reasons for such deviant behavior and there is much to be done to address this issue effectively.

Vulnerability Assesment Essay - 1723 Words

Pick three locations, events or individuals in your location (county, city or state) and complete a 6 - 8 page assessment of their vulnerabilities and threats, putting their security in order of priority, explaining and defending your choices. Terrorism vulnerability assessments were created to criticize any â€Å"Achilles’ heel† in a security system that can be exploited by anyone willing to do harm to the location, an individual, or coordinated event. It assesses the weaknesses of facilities across a wide range of possible threats or hazards and creates a basis for determining physical and operational improvement measures to assure their protection. It administers both to new construction programming and design and to existing†¦show more content†¦With security being the main priority this issue can be alleviated by as simply as having a system that will inform the security guard at an entry post whether or not the employee attempting to gain access to a secured area is supposed to be there or not, this new security system can be linked to the employer’s work schedules and should also show the employee’s level of access, based on Port Authority’s identification cards. The syste m will only show security basic information and will not in any way infringe on the employee’s privacy, for example the system cannot access the employee’s personal information; such as address or personal history. If a system such as this cannot be put into place then it will solely come down to either the security guard contacting the employer or the employer disseminating a list of it’s employees for the day to guard posts through the airport. Location #2: Salem Nuclear Power Plant The Salem Nuclear Power Plant is a two unit pressurized water reactor nuclear power station located in Lower Alloways Creek Township, New Jersey, in the United States. PSEG Nuclear LLC and Exelon Generation LLC own it. The reactors, pressurized water reactors, were built by Westinghouse, and began commercial operation in 1977 and 1981. The two-unit plant has a capacity of 2,275 million watts of electricity. Unit 1 is licensed to operate until August 13, 2036 and Unit 2 is licensed to operate until April 18, 2040.Show MoreRelatedThe Ethical Hacking Program On Pluralsight.com1488 Words   |  6 PagesHacker version 9 book by Sean-Philip Oriyano. I watched approximately sixty-one hours of lectures, spent several hours taking assesments and quizzes on skillset.com and spent somewhere in the neighborhood of thirty-five hours reading and taking chapter review tests in the CEH version 9 book. 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