An Introduction to Film

Ernest Dickerson), Radio Raheem (Bill Nunn), who both entertains and intimidates the neighborhood by playing loud music on his b ...

accompanied by the equally memorable music from the second movement of Franz Schubert’s Trio no. 2 in E-flat Major (D. 929, op. ...

is insane, and a low-angle shot emphasizes her anx- iety, fear, and vulnerability. The shot also reminds us that the visual and ...

Because we cannot see its source, asynchronous sound seems mysterious and raises our curiosity and expectations. Thus it offers ...

Neil Jordan’s The Crying Game(1992; cinematogra- pher: Ian Wilson), for example, uses alternating camera angles to convey and th ...

Charlie right behind them, still shooting his gun. When Earp, on-screen, starts to enter the building through an upstairs window ...

taken from an aircraft or very high crane and implies the observer’s omniscience. A classic exam- ple of the aerial view comes, ...

must be seen in its lunatic entirety to be fully appreciated but nonetheless provides countless rich individual exchanges. Today ...

and partly fantastic. Once the dinosaurs make their actual appearance, we know that humans, however powerful in their financial ...

a school bus and its aftereffects on the townspeople who have lost children. Two principal characters voice the narration—the bu ...

each new detail is revealed by the moving camera, more questions about the relationship between these two people. After a series ...

A special category of sound effects—Fol ey sounds—was invented in the 1930s by Jack Foley, a sound technician at Universal Studi ...

Orson Welles’s The Magnificent Ambersons(1942; cinematographer: Stanley Cortez), where he used several pan shots that moved almo ...

In Martin Scorsese’s Raging Bull(1980; sound: Frank Warner), brutal tape-recorded sounds from boxing matches are mixed with soun ...

decision, or as a point-of-view shot of what the character is having a realization about. The scene in Hitchcock’s Notorious (19 ...

the filmic medium, particularly the narrative.”^5 Such music can be classical or popular in style, written specifically for the ...

on-screen figures or objects. By contrast, because a zoom lens does not move through space, its depic- tion of spatial relations ...

sounds of brass and percussion instruments and songs by the Propellerheads and Rage against the Machine to match the world of th ...

270 CHAPTER 6CINEMATOGRAPHY 1 3 5 7 2 4 6 8 The crane shot in Touch of Evil These stills from the opening crane shot in Orson We ...

such as Paul Greengrass’s The Bourne Supremacy (2004; composer: John Powell), could become rou- tine if the music did not change ...