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Month: January 2021

Sound Textual Analysis

Sound Notes:

Textual Analysis:

The final confrontation between Luke Skywalker and Darth Vader, this scene from Star Wars: Return of the Jedi, directed by Richard Marquand and composed by John Williams, displays not only the climactic battle between the protagonist and antagonist of the film, but also the clash of its core conflicts: love versus hate, composure versus rage, and, ultimately, good versus evil. Not only does our hero need to win the internal fight for his own morality, but also win the external fight of toppling an empire in order to restore peace in a galaxy far, far away. 

These themes are conveyed not only by the score of the scene, but also, in my opinion, far more poignantly when the score is almost entirely absent. At the start of the second half of the scene, the texture of the instrumentation is incredibly thin, mostly silent except for a low, menacing woodwind melody. However, because of the withdrawal of the score in this moment, Vader’s ambient breathing is emphasised, becoming the focus of the soundscape of the scene alongside the hum of his lightsaber. This laboured breathing sound effect connotes pain and hardship, reminding the audience of Vader’s constant vulnerability; the dying man, trapped beneath the sinister mask and layers of cybernetics. This, paired with the unnerving score, creates a juxtaposition that epitomises the duality of Vader’s character: the suffering father, and the violent weapon that Palpatine has moulded him into. 

Perhaps this is the reason why Vader’s leitmotif is never heard during the entire sequence. Luke senses conflict in Vader, implying that his father is actively trying to separate these two parts of himself in order to eradicate his evil side, so one can assume that, since Vader’s ‘Imperial March’ is intrinsically linked with the Empire and the domination of billions, this is the idea of that move away from the dark side being demonstrated musically. With this context, it then makes sense that it is Emperor Palpatine’s leitmotif that is introduced after a dramatic swell of brass when we see Luke’s face in shock as he realises that he has just given in to not only his unbridled rage, but to the dark side, after furiously beating down Vader and dismembering his hand. It implies that, like his father before him, he is being manipulated by Palpatine, and, if he doesn’t change his ways and break the cycle of violence, he will also fall to the dark side as a result of the Emperor’s grand, evil scheme. 

 

Continuity Editing

We were tasked with filming and editing a continuity sequence that builds to a tense climax, using editing and cinematography to maintain continuity of space and time. We began with a script that evolved into a shot list, which we then shot and edited into a reel, and finally analysed that reel in a slideshow, all of which can be found below:

Script:

INT. ROOM. DAY.

X sits at a table, waiting.

Cross cut to:

INT. CORRIDOR. DAY.

Y walks down a corridor.

He/she is in a hurry and worried about being seen.

Cross cut to:

INT. ROOM. DAY.

X checks the time impatiently.

Cross cut to:

INT. CORRIDOR. DAY.

Y arrives at a door and opens it furtively to enter the room.

INT. ROOM. DAY.

Y enters and sits down opposite X, but within reach of him / her.

X

Look at the time. What happened?

Y

Sorry. Got held up.

X

Did anyone see you leave?

Y

No. At least I don’t think so?

X

What?

Y

No. No-one saw me leave.

X

You know what will happen if anyone finds out.

Y

Yes, which is why we haven’t much time.

Y takes a package from out of his/her coat pocket and passes it across the table to X.

Y

Here, you should take this, but don’t let anyone see it.

X

What? What is it?

X opens the package to find:

  • an envelope stuffed with cash
  • a gun
  • a photograph
  • a bunch of keys…

Shot List:

0 Shot List

Shot No 

1

Action / Location

Corridor – Walking.

Framing
Shot No

2

Action / Location

Room – Impatience.

Framing
Shot No

3

Action / Location

Corridor – Walking.

Framing
Shot No

4

Action / Location

Room – Clock glance.

Framing
Shot No

5

Action / Location

Corridor – Entrance.

Framing

Longshot/Midshot.

Shot No

6

Action / Location

Room – Entrance.

Framing

Over the shoulder.

Shot No

7

Action / Location

Character X conversation.

Framing
Shot No

8

Action / Location

Character Y conversation.

Framing

In between characters 

Shot No

9

Action / Location

Neutral two shot.

Framing

In between characters

Shot No

10

Action / Location

The hat reveal.

Framing

Close-up.

Shot No

11

Action / Location

Hands rapping.

Framing

Close-up.

Shot No

12

Action / Location

Clock.

Framing

Close-up.

Shot No

13

Action / Location

Door handle.

Framing

Close-up.

Shot No

14

Action / Location

Shocked reaction.

Framing

Close-up with push-in.

Reel:

Pages:

 

Editing Textual Analysis of Hot Fuzz

Top London policeman, Nicholas Angel is sent to a quiet country village as punishment for being too good. But the village is not all it seems! Numerous deaths lead Angel into a final showdown with the villagers in ‘God’s Country’. The sequence is from the end of the film – the final shoot out between Angel, his sidekick Danny and the villainous villagers.

There are a number of times where we see good eyeline match. For example, when the citizens are shooting at the man, we see the police officer in the car looking over to see what’s going on. This eyeline match is important to show that everyone is aware of their surroundings and all in the same location. It also helps show the reaction from the people as most the shots are medium close-ups to close-ups. During the first minute of the scene Angel kicks an old lady in the face. The action is composed of four shots. The match on action happens when the kick occurs. The camera at this moment is a close up of her face which shows the audience the impact it had. We see a really good slow motion effect when the man throws a gun to the officer to use. This slow motion effect adds to the drama of the action and makes it somewhat over the top.

The first fade happens as soon as the scene starts. The fade makes us believe the scene is going to be calm and peaceful but little we know is that it’s an action sequence that leads us into a false sense of security but this heightens the contrast to the action later.

Wright utilises a rapidly cut montage of close-up shots to portray Angel’s armament in the same high-octane style as he would an action sequence, as to not take away from the fast pace and tension built by the previous scenes.

After the first gunshot, the pace of the edit becomes fast, with steady, quick cuts creating a strong, intense rhythm to compliment the action, before slowing again upon the defeat of the villagers and the subsequent appearance of the reverend, implying that the atmosphere has once again cooled to a more tranquil equilibrium. The style of the scene pays homage to the ridiculously over-the-top action films featuring police shootouts, with  intense rapid push-ins and slow-motion gun throws heightening the drama.

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