Jaws Sound Clip Analysis

Shot number	Technical sound description	Effects on meaning/sound
1.	-Off-screen non-diegetic sound (electric terrestrial/ wind)	The off-screen non-diegetic sound is electrical and terrestrial giving it an eerie and mystical feeling. This sets the premise for the film.
2.	-Sound- bridge (electric terrestrial/wind) -Off-screen non-diegetic sound (dur-dur)	The ‘dur-dur’ is the motif of the film. It is eerie and dark with a mysterious and serious edge. It invites the audience to the tone of the film and to consider why.
3.	-Sound bridge off- screen non-diegetic sound (dur-dur) -Off- screen non-diegetic sound (bubbles)	The ‘dur-dur’ sound begins to increase in pace and becomes insistent which creates a sense of urgency to know to cause for the dark music.
4.	-Sound bridge off- screen non-diegetic sound (dur-dur) -Off- screen non-diegetic sound (horns/ orchestral)	As the actual film image appears on screen the ‘dur-dur’ becomes even more intense and ominous. The image on screen is underwater suggesting that the cause is possibly a sea creature, however due to the eerie mystical music in the credit sequence, the cause may be terrestrial. Following this there are soaring horns, which adds to the intensity of the sequence.
5.	-On-screen diegetic sound (Harmonica) -Off- screen diegetic sound (waves) -On screen diegetic sound (group talking and laughing) -On-screen diegetic sound (fire crackling) -On-screen diegetic sound (Guitar)	This sense is in strong contrast to the sound from the previous scene as it is more relaxed and mellow, however the previous scene was scary and intense. This may foreshadow dark events happening in the most unexpected times. The use of the harmonica and guitar create a sense of relaxation, which parallels the image on screen, whereby people are sat around a fire causally talking and laughing.
6.	-Sound bridge (background sound of harmonica/ talking/ waves) -On-screen diegetic sound (talking of two characters	The scene then focuses on two characters talking, which immediately shows they’re the main characters of features to this part of the film.  This effect of singling these characters out allows the audience to think about the previous dark sound and connect that they may be the cause of it. This is heightened by the fact the characters leave the group and are also both drunk.
7.	-Sound bridge (two characters talking) -On-screen diegetic sound (waves) -On- screen diegetic sound (splashing)	As the female character goes into the sea there is splashing giving the film a realistic edge. This also heightens the idea that they will be the centres of the danger as the initial dark noise came from within the sea.
8.	-Sound bridge (waves/ splashing) -On- screen diegetic sound (male character talking) -On- screen diegetic sound (bubbles/ gasping)	As the female character is in the water there are more realistic sounds of splashing and bubbles, which adds to the realism of the film.
9.	-Off-screen non-diegetic sound (orchestral/ dur-dur) -On- screen diegetic sound (splashing)	As soon as the ‘dur-dur’ noise begins this invites the audience to feel scared and they know that it is or a dark theme. It may also confirm that danger is looming and that it forebodes evil and suffering. This dark noise is contrapuntal and the scene is light and happy for the characters as all they are doing is swimming. However due to the motif the audience knows danger will follow due to the tone of the music.
10.	-Off- screen non-diegetic sound (dur-dur) -Off- screen non-diegetic sound (orchestral)	The ‘dur-dur’ noise begins to heighten which creates a sense of urgency and danger.
11.	-On- screen diegetic sound (splashing/gasping)	The characters splashing and gasping confirms the danger as she is dragged under water. This allows the audience to empathise with her character as she is merely harmlessly swimming.
12.	-Sound bridge (splashing/gasping) -On- screen diegetic sound (screaming)	The characters screaming brings a sense of extreme urgency which, in effect makes the audience react by wanting to help, or thinking why isn’t the male character helping. This gets the audience involved and engaged in the film, as it is nature instinct to help someone screaming in pain.
13.	-Sound bridge (splashing/screaming) -Off- screen non-diegetic sound (orchestral)	The scene continues with orchestral music to intensify the action happening on screen.
14.	-On- screen diegetic sound (male character talking) -On- screen diegetic sound (tide coming onto beach/ waves)	This scene is on strong contrast to the previous as it is practically silent bar the rhythmic sound of the tide and waves rolling onto the beach. This contrast brings the audience back to the realisation that this danger can happen at the most peaceful and unlikely times.

Overall sound analysis:

The sound frequently jumps from dark and evil, to light. The dark sound often forebodes the danger which is to come in the scene, however it is contrapuntal as sound usually associated with being at the beach is light and happy. The sound which is used for the group beach scene parallels the image on screen as it is on-screen diegetic, which gives a sense of realism to the film. From this I have learned that using paralleled sound is effective when establishing the mood of a scene. I will be using this in my opening sequence to establish the different moods in different scenes. 

Apocalypse Now Sound Clip Analysis

Shot number	Technical sound description	Effects on meaning/sound
1.	-Off-screen non-diegetic sound (Sweeping-helicopter)	There is no image on the screen however there is a sweeping repetitive sound of a helicopter. This gives a sense of mystery and question to which situation the helicopter would be used for.
2.	-Sound bridge (sweeping/ helicopter) -On-screen diegetic sound (sweeping/ helicopter) -Off-screen non-diegetic sound (Sitar music)	There is a sound bridge for the sweeping sound of the helicopter, however it becomes on-screen diegetic as we see the image of a helicopter fly past the jungle. Following this the sound builds through the use of off-screen non-diegetic sitar music, which is pensive and mellow. The use of sitar sound adds to the context of the film, as this type of music was popular during the 1960’ s/70’s, which was when the Vietnam war took place. Similarly the sitar is an Asian musical instrument, which may add light to the setting of the film, as this scene on looks a jungle.
3.	-Off-screen non-diegetic sound (Singing- The Doors ‘The End’) -Sound bridge (Sitar music)	There is off-screen non-diegetic sound of singing “this is the end”. This parallels with the image on screen of the flames and burning jungle. There is also a sound bridge of the mellow, pensive sound which is contrapuntal as the scene is chaos however the tone is light, almost like the burning jungle is a relief. This confusion may set the premise for the film.
4.	-Sound bridge (Sitar music/ singing)	There is a sound bridge of the singing and sitar music. These mellow sounds reflect the characters upside down face, suggesting he is in a dream-like state.
5.	-Sound bridge (Sitar music/singing)	There is a sound bridge of the singing sitar music with the lyrics saying, “ no safety, I’ll never look into your eyes”. This parallels the image on scene as there in no safety in the burning jungle, and his eyes widen in fear.
6.	-Sound bridge (sitar music/ singing)	There is a sound bridge of the singing sitar music with the lyrics “the desperate man” showing he has been in a tragedy, which he was either directly involved in or caused. This tragedy could have been the fire, which is also emphasised by the image of him smoking. Similarly, there is a fan spinning around in the room above him, which may signify the helicopter blades. The lyrics also mention a “desperate land” suggesting that the country the burning jungle was in is war-torn or invaded.
7.	-Sound bridge (sitar music)	There is sound bridge of the sitar music, however it is now increasing in pace and intensity. The singing has stopped so all the focus is placed on the rapidly increasing music. This musical pace parallels the image, as there is spinning and numerous overlapping images of the burning, helicopter and jungle. This suggests confusion and disorientation of the character.
8.	-Sound bridge (sitar music) -Off-screen non-diegetic sound (Singing)	There is a sound bridge of sitar music, which has slowed down in intensity now as the off-screen non-diegetic sound of singing returns. The lyrics say, “lost in a Roman wilderness of pain”. This is emulated as the character is surrounded by presumably his possessions including letters and photographs. This suggests he is alone and not with his family and is in this dream like state due to the horrors he has faced and the want to return to his family.
9.	-Sound bridge (sitar music/ singing)	The continual sitar sound throughout this opening suggests the character has possibly been in this dream state for a while, as it is repetitive and almost soothing. This soothing notion has been added too by the images of alcohol and prescript drugs by his bedside.
10.	-Sound bridge (singing) -On screen-diegetic sound (spinning fan)	Sitar sound fades out to only the singing, and finally there is only the sound of the fan, which is significant of the helicopter. As the sound of the helicopter is alone, it shows it is powerful and highly significant. Following this, the sound of the helicopter causes the character to abruptly open his eyes, showing that this sound dominates his mind.
11.	-Sound bridge (spinning fan sound)	There is a sound bridge to the spinning fan, however, in reality it is a fan but in the mind of the character it symbolises the helicopter blades, which he associates with the terrors of what happened in the burning jungle.
12.	- Sound bridge (spinning fan sound)	The sound bridge of the fan is insistent and heightening in pace. This rouses the character and alarm appears in his eyes as he wakes up from his dream state and moves to the window to investigate whether it is the fan, or a helicopter.
13.	-Sound bridge (spinning fan sound) -Off-screen diegetic sound (character voice) -On-screen diegetic sound (street noise, cars etc.)	The sound bridge of the spinning fan gradually fades as the character opens the blind to reveal a busy street. The fan sound stops and the audience can hear the noises from the busy street. The culture in the image suggests the character is not from the country, which also supports the idea he is away from family and alone. The location is confirmed by the character’s voice saying, “Saigon, shit, I’m still only in Saigon.” Which also confirms that the film or scene is set in Vietnam, possibly during the war.
14.	-Sound bridge on-screen diegetic sound (character voice)	The characters voice stands alone to add important to what he is saying. He example how “every time I think I’m gonna wake up back in the jungle” this quote confirms that the character was part of the tragedy which adds meaning to the other factors, for example, the fan, alcohol and drugs. The sounds haunt him and the alcohol etc. is ways of coping with the pain.

Overall analysis of sound:

The sitar sound is an indication of the setting to the film- Vietnam, as is the song by The Doors, which begins to explain the pain the character has gone through and still goes through. The sounds within the room are reminders of the tragedy the character faced through war, and show how this has mentally scarred him. For example the fan resembling the helicopter. The overall tone of the sound is mellow and pensive, suggesting the character is in a dream- like state and cannot get over and stop reliving the horrors. This is state is added too by his intoxication and drug use, however it is a coping mechanism. From this task I have learned that sound can be used to add the the visual on screen and also make comparisons; for example, the sound of the helicopter is used also for the sound of the fan, making comparisons and linking the two visuals. I will aim to use this sound effect in my opening sequence by linking the same sound to two different scenes or objects.