Comparative Soundtrack Analysis, Outline Example

Introduction

In both the Classical and the Post-Classical studio, eras films were developed with comparatively different soundtrack parameters, reverberations, texture, and density. An example of two films that portray these features quite well is The 39 Steps and Permission to Kill. The 39 Steps is a film whereby Richard Hannay finds himself on the run as a fugitive after being accused of murder. The woman surprisingly turns out to be Annabella Smith. Whom he had met after a show and decide to keep without knowing that Anabella was also on the run from foreign agents. And the rest of the film is all about Hannay trying to prove his innocence. On the other hand, the film permission to kill is a movie, also known as The Executioner, which is a classic spying film with the touch of the 70s. Where the Western Intelligence agents give their all to preventing a communist-bloc defector from leaving the West with the intention to return home and lead an uprising.

Scene Analysis

Film One: The scene on the chase of the Flying Scotsman https://www.youtube.com/watch?v=xdUdaBc67dM is quite an intriguing part of the film, which was the escape on the forth bridge, and it was the first theatrical bi-plane crash ever staged. In the scene, there is a precise use of the soundtrack. The scene has the use of high pitch to show the essence of the unfolding frightening events and whereby Hananny embarks on the chaotic adventure of a narrow escape to help Annabelle. The volume of the entire scene has been set high to bring the attributes of an escape. The tempo of the scene is consistent across the film to set the anxious escape on the entire scene.

Film Two: https://www.youtube.com/watch?v=FpQDJcwE4wc In this film, the fantastic scene the escape of Timothy Dalton, where he jumps from the fats riding car and runs through the woods which is entirely and an engaging scene in the film with proper use of soundtrack, pitch volume temple, and reverberation. The volume and frequency of the sound of sound in this scene at an optimum level until the exact part where Timothy jumps out of the car, which is accompanied by echo and high pitch. Then there is the reverberation and a rise in the tempo to show the sudden change of events and bring an action-kind of the oriented film with the liveliness of the film being on a rational level to create the smooth pace of the film for an audience to follow up.

Description

In both films, we see there is the shift in the use of soundtrack as the events unfold whereby in the interplays both of this scenes are based on the narrative of average, innocent men that were caught up in extraordinary events which seemed o be quite out of their control and had to act extraordinary. To bring out the essence of the actions and make the scenes intriguing, both scenes have to use the pitch appropriately to show the street scenes in the two films. Hence there is the proper establishment in balancing the soundtrack to appropriately vary the different activities that take place in these two scenes. The narrative in the scene, the escape of the flying Scotsman and Timothy Dalton’s escape have a marvelous narration that is enthusiastic, natural, and presumably convincing.

Conclusion

Both of these scenes compare based on the aspect that they are both escape scenes whereby, in the first scenes, we have Hananny escaping with Annabelle. In the second scene, we have Timothy jumping out of a first moving car, and hence because of how both of this film have a similar set up of an escape there compare is the way soundtrack is used. More so, the two scenes contrast on the basis that the first scenes maintains a high pitch and tempo all through while in the second scene, the pitch, volume, and tempo changes, and there is very minimal use of echo as a soundtrack. Although the way that both of the scenes are explained in this interplay broadly relate to the bigger picture of the whole film. The first scene was well attached to the kits era and closely resonates with the classical era since is definable, active, and goal-oriented, which is normally brought out through the use of the high pitch. The second scene resonates with its era since it is observable with the point of invisible cut and switching between shots smoothly with proper use of musical tempo and pitch.