How far do your chosen films demonstrate the importance of visual and soundtrack cues in influencing spectator response? Refer in detail to at least one sequence. [40 marks]
How far do your chosen films demonstrate the importance of visual and soundtrack cues in influencing spectator response? Refer in detail to at least one sequence. [40 marks]
(To what extent does No country for old men show that the micro elements importantly influence the spectator.)
In the scene wherein the police send a dog to chase Moss through water, it could be argued that the extent that the spectator is influenced by the visual elements is questionable or small. In terms of cinematography, the extreme low key lighting creates a sense of danger and uneasiness, which has the potential to suture the spectator into the scene; however it also restricts the spectator's ability to picture the small details of performance clearly, such as Moss' movements, highlighting the lack of clarity as to why Moss is being chased. This idea can be further supported by the scenes absence of dialogue, therefore the spectator is given no information or clarity through speech and is not influenced to have any specific interpretation of the events and has to deeply focus in order to engage in the scene.
However, one could instead argue that the spectator is largely influenced to align with Moss as a character in the dog chase scene as the lighting transitions to become slightly more high key as Moss starts to swim away from the police dog through the lake, a sense of hope is created with the brighter lighting and the reflective glow of the water. It could be interpreted that from this the spectator would start to gather confidence that Moss will master the situation and will be able to escape. In the visual element of performance, as the spectator sees Moss duck under the water as he sees the figure come over the hill with the gun, the spectator may be influenced by this visual element to perceive that he is one step ahead of the game and is able to quickly make decisions of how to survive in this life threatening situation. This influences spectator to gain trust in Moss as a character. As Moss crouches, smoothly and quickly assembling his pistol in order to shoot the dog, the spectator remains to have full faith that he will not be beaten by the situation at hand. Moss therefore expresses themes of certainty and confidence in this scene to the audience and potentially becomes a figure that the spectator can align with to make themselves feel safe whilst viewing the scene.
One could argue that it is to no extent at all does the sound in the film No Country for Old Men's use of sound influence the spectator's response. This is because Ethan and Joel Cohen controversially abandon the common practice of dictating how a spectator ought to respond to a film by stripping scenes of a dramatic soundtrack. In films, the soundtrack is highly influential on the spectator however, the absence of non-diegetic music in the scene wherein Chugirh tracks down Moss' hotel room in no country for old men forces the spectator to form their own opinions and make their own predictions for the scene, thus they are not influenced rather the spectator influences them-self.
However, one could argue that the spectator's response to the film is still highly influenced by soundtrack cues, but in an alternative way. The spectator is forced to be active rather than passive: each spectator will bring their own core values and ideological beliefs to the film, creating varying interpretations. The spectator is influenced but not given an a preferred reading. Alternatively one could argue that the spectator is influenced to sympathise with Moss. The silence in the room focuses the spectator and heightening the diegetic sound of the phone ringing, which becomes monotonous, building tension and complementing Moss' fear of being overheard. This allows the spectator to be able to empathise with Moss' perspective of fear of being heard. It is arguable that a spectator can become a lot more emotionally invested with films that use silence rather than films wherein the soundtrack dictates how they should respond to a certain character, as the connection that the spectator may make to the character will be more personal.
(To what extent does No country for old men show that the micro elements importantly influence the spectator.)
In the scene wherein the police send a dog to chase Moss through water, it could be argued that the extent that the spectator is influenced by the visual elements is questionable or small. In terms of cinematography, the extreme low key lighting creates a sense of danger and uneasiness, which has the potential to suture the spectator into the scene; however it also restricts the spectator's ability to picture the small details of performance clearly, such as Moss' movements, highlighting the lack of clarity as to why Moss is being chased. This idea can be further supported by the scenes absence of dialogue, therefore the spectator is given no information or clarity through speech and is not influenced to have any specific interpretation of the events and has to deeply focus in order to engage in the scene.
However, one could instead argue that the spectator is largely influenced to align with Moss as a character in the dog chase scene as the lighting transitions to become slightly more high key as Moss starts to swim away from the police dog through the lake, a sense of hope is created with the brighter lighting and the reflective glow of the water. It could be interpreted that from this the spectator would start to gather confidence that Moss will master the situation and will be able to escape. In the visual element of performance, as the spectator sees Moss duck under the water as he sees the figure come over the hill with the gun, the spectator may be influenced by this visual element to perceive that he is one step ahead of the game and is able to quickly make decisions of how to survive in this life threatening situation. This influences spectator to gain trust in Moss as a character. As Moss crouches, smoothly and quickly assembling his pistol in order to shoot the dog, the spectator remains to have full faith that he will not be beaten by the situation at hand. Moss therefore expresses themes of certainty and confidence in this scene to the audience and potentially becomes a figure that the spectator can align with to make themselves feel safe whilst viewing the scene.
One could argue that it is to no extent at all does the sound in the film No Country for Old Men's use of sound influence the spectator's response. This is because Ethan and Joel Cohen controversially abandon the common practice of dictating how a spectator ought to respond to a film by stripping scenes of a dramatic soundtrack. In films, the soundtrack is highly influential on the spectator however, the absence of non-diegetic music in the scene wherein Chugirh tracks down Moss' hotel room in no country for old men forces the spectator to form their own opinions and make their own predictions for the scene, thus they are not influenced rather the spectator influences them-self.
However, one could argue that the spectator's response to the film is still highly influenced by soundtrack cues, but in an alternative way. The spectator is forced to be active rather than passive: each spectator will bring their own core values and ideological beliefs to the film, creating varying interpretations. The spectator is influenced but not given an a preferred reading. Alternatively one could argue that the spectator is influenced to sympathise with Moss. The silence in the room focuses the spectator and heightening the diegetic sound of the phone ringing, which becomes monotonous, building tension and complementing Moss' fear of being overheard. This allows the spectator to be able to empathise with Moss' perspective of fear of being heard. It is arguable that a spectator can become a lot more emotionally invested with films that use silence rather than films wherein the soundtrack dictates how they should respond to a certain character, as the connection that the spectator may make to the character will be more personal.
Paragraph 1:
ReplyDelete"In the scene wherein the police" - not the police - they're part of the drug dealing ring
"the lack of clarity as to why Moss is being chased" - maybe if you view it in isolation, but we already know why he's being chased; it's important to analyse scenes in their broader context
Paragraph 2:
"swim away from the police dog through the lake" - it's a river, not a lake - be accurate
"a sense of hope is created with the brighter lighting" - maybe, but the transition from night to morning is very rapid - for me, as a spectator, I find it quite disorienting. The Coen brothers aren't allowing the spectator to settle.
Paragraph 3:
"One could argue that it is to no extent at all does the sound in the film No Country for Old Men's use of sound influence the spectator's response" - slightly mangled rephrasing - needs rewriting
Paragraph 4:
"the spectator is influenced to sympathise with Moss" - not sure 'sympathise' is the right word here - I don't think it encapsulates the sense of fear we develop for his wellbeing. Additionally, there are other sound elements beyond the ringing tone of the phone - the creaking floorboards, the cocking of the gun - all these create a soundscape that heightens the overall silence.
Overall, your expression can be a little verbose/overwritten at times - aim for more simple phrasing. The ideas are generally fine - just the writing that needs to be fine-tuned.
Mr Boon