“Every film uses certain techniques in a pattern way” (Gunnar, 5). In particular the 2009 adaption of Sherlock Holmes has a penchant for over the top flamboyant effects, disregarding realism in favour of the spectacular. Using colourful bursts of sound, laziness is encouraged as the eyes is drawn were ever the director wants it. It is an effective enough technique. As with a child banging pots and pans together –bang! That’s where you need to look, that’s where the action is happening. Every sound initiates an event. Or rather, it concretizes a particular story among the many that could be told about that event (Altman, 25). Yet, strangely enough, tied with the films genre and content, this particular pattern not only works, but is effective.
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Originally a beloved fictional character created in 1887 by author Sir Arthur Conan Doyle (Wiki, 2015). Since bastardized into the 2009 movie starring Robert Downey Jr and Jude law Respectively as Sherlock Homes and his faithful companion John Watson. As I stated previously the film had many distinct techniques patterned throughout the film, several of which are prominently utilized in the scene surrounding the capture of the nefarious Lord Blackwood.
After catching a Lord of the realm attempting to murder a young girl who is laying very helpfully on a giant concrete slap in front of him, a fight scene ensues in order to prevent this calamity. One of the thugs fires of a shot, which in true stormtrooper style (StarWars, ), doesn’t actually hit anyone. It does however slam into one of the cement pillar supports, causing temporary hearing loss in the surrounding individuals. talks about image and sound being in a dance, a state were sometimes they are in sync, other time, one will take the forefront and do something unexpected in order to draw the audiences eye. (Paine, …show more content…
Where an image flattens into 2-dimesion the recorded sound, considered as a volume of vibrating air waves, has the ability to remain 3-dimensional post capture (Levin, 57). The ‘loss of hearing’ is cleverly exploited in an attempt to recreate such an experience allowing the audience to feel the vibrations, drawing them and immersing them in the experience. IT completely changes the seen, giving the illusion the action has slowed down and been simplified. Only impacts, important in a fight, register to our hearing. Murch states that film sound is rarely appreciated for itself alone, rather functioning as an enhancement of the visual. While not entirely disputing, Robert Bresson (Film Sound: Theory and Practice, 1985) argues that Image and sound must not support each other instead work in turns, mirroring a relay. The sound in this instance certainly provides a supporting role, however the stark difference from what we expect to hear almost flips the coin. Where the sound is telling us the important details and the picture is just filling in the
Originally a beloved fictional character created in 1887 by author Sir Arthur Conan Doyle (Wiki, 2015). Since bastardized into the 2009 movie starring Robert Downey Jr and Jude law Respectively as Sherlock Homes and his faithful companion John Watson. As I stated previously the film had many distinct techniques patterned throughout the film, several of which are prominently utilized in the scene surrounding the capture of the nefarious Lord Blackwood.
After catching a Lord of the realm attempting to murder a young girl who is laying very helpfully on a giant concrete slap in front of him, a fight scene ensues in order to prevent this calamity. One of the thugs fires of a shot, which in true stormtrooper style (StarWars, ), doesn’t actually hit anyone. It does however slam into one of the cement pillar supports, causing temporary hearing loss in the surrounding individuals. talks about image and sound being in a dance, a state were sometimes they are in sync, other time, one will take the forefront and do something unexpected in order to draw the audiences eye. (Paine, …show more content…
Where an image flattens into 2-dimesion the recorded sound, considered as a volume of vibrating air waves, has the ability to remain 3-dimensional post capture (Levin, 57). The ‘loss of hearing’ is cleverly exploited in an attempt to recreate such an experience allowing the audience to feel the vibrations, drawing them and immersing them in the experience. IT completely changes the seen, giving the illusion the action has slowed down and been simplified. Only impacts, important in a fight, register to our hearing. Murch states that film sound is rarely appreciated for itself alone, rather functioning as an enhancement of the visual. While not entirely disputing, Robert Bresson (Film Sound: Theory and Practice, 1985) argues that Image and sound must not support each other instead work in turns, mirroring a relay. The sound in this instance certainly provides a supporting role, however the stark difference from what we expect to hear almost flips the coin. Where the sound is telling us the important details and the picture is just filling in the