ART 2010 Week 8 Singin in The Rain Film and Song Analysis Review I attached my assignment below.Please send it by TODAY (July 26) at 7 p.m. – Eastern Time

ART 2010 Week 8 Singin in The Rain Film and Song Analysis Review I attached my assignment below.Please send it by TODAY (July 26) at 7 p.m. – Eastern Time Zone *The assignment should be 1 page
*Please send it by TOMORROW (July 26) at 5pm (Eastern Time Zone – USA)
Week 8 Journal: Song and Film
Choose one of this week’s films. Analyze the function of one song in this film. Does it forward
the plot? Explain a character’s motives? Describe a relationship? Comment on society, politics, or
history? Provide comic relief? Something else? Explain. As always, choose at least two scenes to
use as supporting examples for your argument. Screen shot each of them. Be specific in your
analysis, and do not summarize.
Singin’ in the Rain (1:43:00)
One of the most iconic musicals ever made. The story within a story about Hollywood and its
whims is irresistibly funny and romantic. It stars two of the greatest dancers to ever grace the silver
screen, Gene Kelly and Donald O’ Connor, and is filled with innovative and stunning dance
choreography that is still imitated and lauded today. Kelly’s romantic style and O’Connor
humorous antics set them apart from each other, while their shared acrobatic talents make them a
perfect match as well. The cast is rounded out by Debbie Reynolds who holds her own beautifully
amidst these two powerhouses.
https://www.youtube.com/results?search_query=singin%27+in+the+rain+movie
The Movie Musical
ART2010
Elements of the Musical
Music! A score that is sung and
often danced.
Music advances the narrative
and deepens understanding of
characters
Choreography and musical
direction
Great locations, costumes and
sets – often fantastical or
historical
Unusual camera angles that
present musical numbers in ways
impossible to stage
Actors who can sing and dance
Big ensemble songs often with
lots of dancing
Small, intimate songs sung either
alone or with a loved one
History of Musicals on Film
The Jazz Singer 1927;
Broadway Melody 1929
At first movies featured musical
numbers by big bands and
singers
Soon they became musicals
about showbiz and getting roles
in musicals, or being in them.
Busby Berkeley made musicals
that featured dancers doing
synchronized numbers that
were shot as shapes that
looked like flowers,
kaleidoscopes, animals, etc.
Big names emerge: Fred Astaire
and Ginger Rogers were the
epitome of elegance and
lavishness
Gene Kelly added modern
dance, acrobatics and sexiness
to the screen: An American in
Paris…
History of Musicals on Film
Judy Garland and Micky Rooney made
a series of musicals about teens
putting on musicals at camp, etc.
The Wizard of Oz 1960s post-classic era features West
Side Story, Sound of Music, Mary
Poppins, various Broadway
“translations”, Barbara Streisand!
1970s the musical goes out of favor
and really doesn’t get successfully
revived until Saturday Night Fever
and Grease – Travolta.
In 80s and 90s the best musicals are
animated Disney features!
2000s resurgence with Moulin Rouge,
Chicago, Dream Girls and Sweeney,
and the crossover between Hollywood
and Broadway continues.
Types of Musicals
Opera and light opera
Traditional Broadway style
tunes
Everything from jazz, blues,
rock, folk, country, R & B,
to hip-hop music
Musicals come in all genres
– even western, sci-fi and
horror
Many are dramatic and/or romantic
with comic moments, characters, or
scenes within the larger drama
Self aware – or not;
musicals within musicals;
historical…fabulous!
Audience Appeal
Most provide escapism from reality
Even the epic and tragic ones have lavish settings and costumes.
They also provide a heightened experience of narrative, character
and relationships
Music itself! Actors sing right to the camera – the audience.
Intimate in a way that musicals on stage cannot be.
They lend themselves to being watched multiple times if only for
the spectacle of them
Chapter 7
Sound in the Cinema
©McGraw-Hill Education. All rights reserved. Authorized only for instructor use in the classroom. No reproduction or further distribution permitted without the prior written consent of McGraw-Hill Education.
Sound Decisions
Sound can be difficult to analyze. It’s elusive.
It can create a strong effect, yet often remain
unnoticeable.
The auditory world in film has evolved to
become increasingly complex.
©McGraw-Hill Education
The Powers of Sound
Can have a unifying effect with visual qualities.
Shapes how we perceive and interpret the
image.
Directs our attention and creates expectation.
©McGraw-Hill Education
Fundamentals of Film Sound:
What Do We Hear?
Loudness is connected to perceived distance,
but is constantly manipulated.
Pitch is the highness or lowness of the sound,
and helps viewers distinguish different sounds.
Timbre is the tone quality, whether nasal,
mellow, or in between.
Together they create the sonic texture of a film
and shape the experience for the viewer.
©McGraw-Hill Education
Recording, Altering, and Combination:
Choosing and Manipulating Sounds
Recording audio occurs during production and
postproduction.
A soundtrack is made by selecting sounds that
fulfill a function.
Often this means that sound is used
unrealistically, for special effect.
Sound selection and manipulation help to guide
viewer attention.
©McGraw-Hill Education
Recording, Altering, and Combination:
Sound Mixing
Mixing is combining sounds together, creating
layers of sonic information.
Some techniques can contribute to continuity.
In Seven Samurai, the combination of sound
enhances the unrestricted, objective narration.
©McGraw-Hill Education
Recording, Altering, and Combination:
Sound and Film Form
1
Choice and combination of sound can create
patterns that run through the film.
Musical motifs can reappear throughout the film
but are re-orchestrated to emphasize narrative
points as in Breakfast at Tiffany’s.
©McGraw-Hill Education
Recording, Altering, and Combination:
Sound and Film Form
2
Henry Mancini’s “Moon River” is introduced during the
opening credits of Breakfast at Tiffany’s and recurs
throughout.
©McGraw-Hill Education
Opening credits
Talking in her sleep
Searching for Cat
The couple’s embrace
Dimensions of Film Sound: Rhythm
Sound relates to other film elements in several
dimensions.
Rhythm involves a beat, a tempo, and a pattern
of accents.
Coordinated rhythm synchronizes visuals with
sound.
Disparity between sound and image can smooth
over shot changes and create an expressive
counter-rhythm or convey a feeling.
©McGraw-Hill Education
Rhythmic contrast in Reservoir Dogs.
Lateral tracking shot
of the gang as they
walk in slow motion.
Cut to medium shot
of Mr. White. Harvey
Kitel’s credit is
superimposed to link
actor to the character.
©McGraw-Hill Education
Dimensions of Film Sound: Fidelity
Refers to whether the sound is faithful to the
source as we conceive it.
This revolves around expectation, and can
create jokes or artistic commentary.
Can also refer to volume.
©McGraw-Hill Education
Dimensions of Film Sound: Space
Sound comes from a source and what we think
about that source can affect how we understand
that sound.
Diegetic sound has a source in the story world.
Nondiegetic sound comes from outside the story
world.
©McGraw-Hill Education
Diegetic and Nondiegetic Sound
Diegetic sound can be onscreen or offscreen.
Diegetic sound can be external (objective) or
internal (subjective).
In No Country for Old Men, the narration at
times restricts us to Moss’s range of knowledge
through subjective sound and visuals, creating
suspense.
©McGraw-Hill Education
Playing with
Diegetic/Nondiegetic Sound
Sometimes it isn’t clear if a source is nondiegetic
or not.
This can be a source of commentary or jokes.
The hero of Blazing Saddles rides through the desert
accompanied by apparently nondiegetic music… until he passes
Count Basie’s orchestra, making the music (implausibly) diegetic.
©McGraw-Hill Education
Sound Perspective
Sound perspective is a sense of spatial distance
and location being analogous to visual depth
and volume.
It can also have to do with timbre.
Stereophonic and surround tracks can create a
very specific sonic landscape inside a theater.
©McGraw-Hill Education
Dimensions of Sound: Time
Can be synchronous or asynchronous,
simultaneous or nonsimultaneous.
Sound bridges create expectation, as can flash
forwards.
Usually nondiegetic sound has no temporal
relationship with the story.
These categories help us analyze film sound and
identify patterns and function.
©McGraw-Hill Education
Functions of Film Sound:
Conversation Piece
Uses sound for purposes of misdirection.
Simultaneous use of objective and subjective
sound creates ambiguity and mystery.
Repeated audio motif plays over nonlinear
visuals.
Sound mixing an extremely important part of
the plot.
©McGraw-Hill Education
The Conversation:
Sound mixing as creative choice
The recording process splits the time periods
represented in the images and the sounds. Shots of the
couple belong to the past, but what the man is
apparently saying is played back on tape in the present.
The imperfections in the recording force Harry, and the
audience, to fill in what the conversation really means.
©McGraw-Hill Education

Purchase answer to see full
attachment