In Edward Scissorhands and Charlie and the Chocolate Factory, they both have the use of non-diegetic sound. Non-diegetic sound is the sound that the viewers can hear but the characters cannot. In Charlie and the Chocolate Factory, during the into of the movie there was upbeat/intense music playing while going through the makings of the chocolate. The music made the scene in the movie stand out to the viewers by getting more intense during the actions that meant something to the later on effect of the movie. If there was only diegetic sound during this scene you would have only been able to hear the machines which wouldn’t have left the same effect on the viewers.
There isn't as much soundtrack music compared to other thrillers so the film relied more heavily on the sounds that seem to come from both inside and outside of the shelter. Michelle often uses sounds to convey where she is and deduct whether or not it truly is safe to go outside. The sounds of the film are heightened in order to give to film a more unsettling and tense feeling. Invisible sounds help to create these feelings such as the creaking of the stairs, opening and closing of locks, moaning pipes, and when Michelle believes that she has heard a car above her room. The sounds are used to tell the inner story and convey Michelle’s emotions as she struggles to deal with her current situation.
For example, in the Episode, as the neighbors were investigating Les Goodman for his car starting up by itself, it says "The car engine starts all by itself, runs for a moment, and stops. " This has an effect on the audience because this sound effect creates and effects the mood of the characters and adds confusion since it is bizarre that his car is the only one working. This technique of Sound Effects has an impact on the audience because it gives the viewer a gist and a preference of how the characters feel and the emotions of the characters
All the sound in the film was diegetic sound, in that all the sounds made during this film, came from the world in that film, and no sound came from an exterior source. This film was Lang’s first sound film, and some attribute the lack of a score for the film to Lang’s inexperience with sound films, however in this particular scene, the lack of dramatic music playing in the background heightened the level of tension and emotions during the scene. Lang was able to use the characters’ dialog as a soundtrack to the film, and would also use the silence of the film to emphasize other sequences. At the beginning of the scene, Lang manages to segue smoothly from the previous scene to this one by having Franz’s voice over inter-cut with the visual of himself sitting in Lohmann’s office to the abandoned building. Also, when Beckert is first brought down to the basement, he turns around to see a group of people silently staring directly at him.
As with most anime and cartoon, the diegetic sounds help to make the scene and action seem more realistic. For example, when the dog was moving forward with an angry expression there was a sliding sound. This help add to feeling of the scene. It added another factor to show that viewer that the dog is angry and ready to attack.
Sound is being used to create or sense the mood for the audience. For example, when Kim’s father is outside, diegetic sound is used so the characters hear the baseball game playing in the background which makes the situation exciting for the audience. Edward finishes trimming a bush (the dinosaur) and everyone is amazed. This can appear to create a dramatic and happy effect for the audience. The sound then crescendos to make it seem as if Edward is being cheered on by the crowd.
Sound is very important in this film because of lot of sound is edited to fit in certain spots including music. During the activist movement, we can clearly hear the hurt in these people voices. Riots, shouting and clapping were all heard in most of the shots along with a voice in the background explaining exactly what is going on. Music was edited into some of the scenes to help give more of a scary or haunted approach. There was also sounds that were in scenes which sounded like someone or something huge is about to take place.
One of Alfred Hitchcock’s most famous movie scene is the ‘crop duster’ scene from North By Northwest. This scene demonstrates how the score and music of a film is incredibly important to build up tension in a classic thriller. The film’s music and scores were written by Bernard Herrmann, a well-known Hollywood composer (hitchcock.tv). In the infamous crop duster scene, Herrmann and Hitchcock used diegetic sounds to build suspense and uncertainty. The diegetic or natural sounds emphasized the distance of objects from the protagonist.
Had there not have been sound then there would have been no way for the blind man to identify Hans. Without sound, there would also be a loss of plot complexity, depth, and suspense. With each new victim that Hans apprehends the tune is heard. This constant
In the North by Northwest scene previously mentioned in the last paragraph, there were very little diegetic sounds. The only sounds that are heard are the vehicles on the road as they drove past Thornhill, the distant sound of the crop duster, and Thornhill’s own feet walking across the gravel. The almost silent scene forces the audience to stay in high alert, adding to the suspense. In contrast, the movie, Rear Window, has many diegetic sounds, from the distant conversations, the city traffic, the yapping dog, to the struggling pianist playing on his piano day in and day out. All of these sounds could represent Jeff’s own state of mind.
Silent movies were almost always accompanied by music, from a multipieced pit orchestra to a single piano or even a guitar. This is why silent film audiences seemed perfectly happy with silent movies. There was also technological difficulty of matching sound with visuals so that everyone in the audience could hear. The problems were synchronisation and amplification. A vitaphone was something that produced the first commercially viable sound system.
Hitchcock, the director of the movie tries to take the viewers into a place of their own responses. Although there is sound, including diegetic and nondiegetic sounds. Diegetic sounds are the visible sounds on the screen implied by the present action in the film. Non-diegetic sound is used for the mood and also for dramatic effects. Hitchcock tries to make the viewer feel and understand what's going on throughout the movie.
Another example of a horror film that uses music to convey a sense of fear that runs down the spine of everyone in the audience is The Silence of the Lambs. As the villain is stalking the detective, the lights go out and the music gets louder and builds the suspense of what the stalker will do to his victim. The use of loud percussive sounds intensives the scene and the higher pitched music puts fear into the
One of the best usage of sound design as a tool of storytelling has to be in the first sequence of The Exorcist. As a horror movie, which as a genre builds itself on the vicarious experience it provides, uses more complex patterns of sound design templates to enhance the adventure of watching the movie. Throughout the first scene, Ken Nagle lays what the audience will be the experiencing through the duration of the movie with sound design; the duel between good and evil. The Exorcist’s first sequence, the audience can hear the digging sound of the workers, which resembles the heart pounding.
The documentary “The Weight of the Nation Part One (Consequences)”, does an excellent job of depicting how severe the health consequences are in correlation to the obesity epidemic. The utmost thought-provoking data in this documentary is that 68.8% of American adults are overweight or obese. When it comes down to it, people should not be looking the other way, because the nation needs to come together and make it a priority to discover a solution. In addition, morbid obesity has outstandingly increased since 1980, which I for one find that particularly alarming. This epidemic is a concern in which ascended over the span of the last thirty years.
