Titanic Informative Speech Outline Essay - 1074 Words

Topic: Titanic General Purpose: To inform Specific Purpose: To inform my audience about the Titanic tragedy Thesis Statement: The sinking of the Titanic remains one of the most famous tragedies in history. INTRODUCTION I. (Attention material) Morgan Robertson wrote a book called The Wreck of the Titan. It was about a so called â€Å"unsinkable† ship named the Titan that set sail from England to New York. There were many rich and famous passengers on board. On its journey, the Titan hit an iceberg in the Atlantic Ocean and sunk. Because of the lack of lifeboats, many people died. If this sounds familiar, get this. The Wreck of the Titan was written 14 years before the Titanic sank. II. (Thesis statement) The sinking of the Titanic†¦show more content†¦3. Other accommodations of the ship included a swimming pool, library, barber’s shop, and a photographer’s dark room. C. The Titanic was believed to be the safest ship to ever be built. 1. In Tibbals’ 1997 book, he described the ship to have an outer layer which would protect the inner layer if the ship were to ever be penetrated. This was referred to as a ‘double bottom’. 2. The bottom of the ship had 16 watertight compartments with automatic doors which would close immediately if water was to enter. 3. These safety features led the ship to be deemed unsinkable. Transition: Now that I have discussed the titanic itself, let’s take a look at the tragedy that struck it on its’ maiden voyage. II. Four days after its departure the Titanic hit an iceberg that devastated the ship. A. The beginning of the voyage was uneventful. 1. According to Tibbals’ 1997 book the Titanic departed from Queenstown, Ireland at 1:30 pm on April 10, 1912 for its destination of New York. 2. The weather was perfect for sailing. The sky was blue, there were light winds, and a calm ocean. B. The journey came to a halt when the ship hit an iceberg and began to sink. 1. In Donald Lynch’s 1992 book Titanic: An illustrated history he explains that the collision happened at 11:40 pm on Sunday, April 14. 2. Tibbals (1997) wrote that rockets and signals were fired, but no ships were close enough to arrive inShow MoreRelatedStress topic outline1033 Words   |  5 PagesINFORMATIVE SPEECH OUTLINE Hunter Schauer Due: April 12, 2013 Informative Outline Topic: Stress General Purpose: To Inform Specific Purpose: To inform my audience different types of stress and the different ways people cope with it. Thesis: From work stress to the stress of grieving there are different types of stress and different ways to cope with it. I. Introduction : Have you ever wanted to pull your hair out or just yell at someone because you haveRead MoreOcd - Symptoms, Causes, Treatment131367 Words   |  526 Pagesbasic emotion of fear, is a universal human experience that plays a central role in human adaptation and survival. The basic function of fear is to signal a threat or impending danger (Barlow, 2002). The feeling of anxiousness associated with making a speech before 3 4 THE NATURE OF OCD a large audience or going for a job interview is understandable, given the potential for embarrassment or rejection. Even some of the phobias that are well known to clinicians, such as acrophobia (fear of heights)

“Yamaha Fiore” 2NE1 †Celebrity Endorsement Free Essays

Celebrity endorsement is commonly used to market products, it is a strategy which gives a â€Å"face† to a brand, to which the consumers can relate and aspire to. Yamaha has decided to promote its Fiore scooter Thailand with widely popular Korean pop group 2NE1. Their strategy was to reach out to urban Thai’s who follow foreign trends, music and fashion. We will write a custom essay sample on â€Å"Yamaha Fiore† 2NE1 – Celebrity Endorsement or any similar topic only for you Order Now While many urban Thai’s certainly are fans of the Korean fashion and pop music it remains unclear as to what effect the campaign has had on the purchase decision making and increased market share if any; however the effort did position Yamaha’s scooters as a trendy and youthful. Across European cities scooters are a very popular and low cost means of transportation. In Thailand, and a number of other emerging markets most consumers will aspire to owning their first car and will go to great lands to acquire one such as extending significant loans, whereas motorcycles/scooter are generally used and perceived as necessity for low income market segment. Furthermore, in Bangkok it is apparent that there are very few scooters being driven by the middle to upper market segment consumers, some of the reasons being as mentioned earlier and due to the traffic congestion and pollution which is considered to be dangerous to drive a scooter in. Yamaha is one of Thailand’s largest motorcycle manufacturers with a market share of 26% – expecting to reach 30% in 2011 (Bangkok Post, May 5, 2008) and Honda leading with an impressive 68% (Bangkok Post, May 5, 2008) market share. A large portion of this is assigned to rural areas where people use scooter as common means for transportation whereas in urban areas people will rely on public transportation, own a car or other. The key challenge would remain in changing people’s (middle, upper segment) perception of using scooters as a way to commute, run errands or go to a nearby store rather than solely relying on using car most of the time. This may be achieved by endorsing a local celebrity which would be ideally living in a modern condominium or a housing village also known locally as moo-ban. This would be a more â€Å"practical† approach to promoting a lifestyle people could more easily relate to rather than pop stars. The end result being many of the middle to upper income market segment might acquire a scooter in addition to owning a car to drive around their housing village or condominium and go to a nearby store or a restaurant. In the sportswear industry celebrity endorsement is used probably more often than in others. It is a great way to establish the brand as it is used by professional athletes and draw the consumer’s attention. Nowadays a great deal of sportswear is also worn as casual wear and not only on tennis courts, golf terrains or running track which has significantly widened and expanded the market. A very successful, charismatic athlete can portray a brand with many positive attributes. However, while there are many encouraging factors in using celebrity endorsements across many industries the marketing and advertising campaign could eventually result in negative or less attractive brand perception. Examples include when athletes are found to be using drugs, misbehaving in public or in competition. As mentioned earlier these individuals provide a â€Å"face† to the brand and in this light the public will think of a given brand. Tiger Woods has been one of Nike’s endorsed celebrity which has virtually established the brand in the golf industry. It is one of the prime examples of a success when a brand is tied in with a successful and charismatic athlete who also has the â€Å"star† power. It is also a very direct and relevant persona in the golfing industry which has attracted many first time golfers to purchase Nike equipment and other sportswear. The previously examined case of 2NE1 pop music group would be more fitting and is more commonly used if the endorsement was used to promote fashion, perfume, makeup and other similar products as they are more fitting with feminine attributes of beauty and attractiveness. In this respect Nike has established a firm brand perception with a person who is very relevant in the industry whereas a few years from now most likely very few people will remember the 2NE1 and Yamaha joint campaign. However it is important to note that there are also certain risks when a brand strongly relies on single celebrity as is in the case of Nike/Tiger Woods who has been through a personal scandal which has dramatically affected the golfers perception in public view and who has suffered a loss of a number of endorsements by energy drink makers and telecommunications company, Gatorade and ATT. And we are yet to see if the company will continue to carry the golfers name in the nearby future. How to cite â€Å"Yamaha Fiore† 2NE1 – Celebrity Endorsement, Papers

Use of Dramatic Irony in Macbeth by William Shakespeare Essay Example

Use of Dramatic Irony in Macbeth by William Shakespeare Essay Before discussing specific cases of dramatic irony through the play, there is one main irony that sets the basis of what the play is about: the more Macbeth believes he succeeds, the deeper in disintegration he steps. One of the aims of dramatic irony is to enhance the theme of appearance and reality. For instance, we see several situations in which Macbeth and his wife pretend to be welcoming, loyal people, and at the same time we know what their plans are (Act1 Scene 6, Act 2 Scene 3).We can also see how Macbeth hides from Banquo the fact that he does think of the witches, thus revealing his underlying ambition (Act 2 Scene 1). Dramatic irony deeply reinforces the sense of betrayal throughout the play. It is created through the characters’ ignorance of the evil forces. Macbeth knows that what he does is wrong but he is at no time aware of the magnitude of his future suffering.We know more than he does because, unlike him, we presence a conversation between the witches where we acknowledge the martyrdom he will endure through the lack of sleep, the inexistence of peace during his meals and his relentless guilt (Act 1 Scene 3). As regards Lady Macbeth, this would apply too. In her case, though, we can remark the absence of consciousness at the time of summoning the evil spirits. She submits the goodness in her and her soul to them, turning into an instrument of evil and later on its victim. At first, she displays a considerable sense of pragmatism and practicality (Act 2 Scene 2).Later on, what she says in this state of rationality proves in retrospect ironic when we see her talking in madness. Her soul is disrupted by what at first gave her the power to do evil. We see how she becomes afraid of what she recognized as innocuous. When she expresses that â€Å"what is cone cannot be undone† (Act 5 Scene 1), we can see how at first it meant that the deed was finished, and now, this takes various connotations among which we can find that what is done cannot be undone as it will haunt them for the rest of their lives.Concerning the rest of the characters, we can point out the porter and Lady Macduff as examples. In Act 2 Scene 1, the porter sets a comic relief by imagining he is the porter of Hell’s gate, thus proving a harsh dramatic irony, as we know that Macbeth’s castle at that moment was figuratively hell since the King of Scotland was being murdered. Lady Macduff is oblivious of her husband’s will to save the country. She accuses him of being a traitor when she ignores the fact that he fled to England for the sake of his country and of his own family.Act 4 Scene 2 introduces an ironic interlude, it is a moment of sad joking because the audience knows that they will soon b e ruled, thus kindling sympathy for Macduff’s family. The equivocation the witches performed also corroborates the dramatic irony. Banquo anticipates the vileness in the witches’ words, suggesting to the audience that no one should in fact trust them (Act 1 Scene 3, lines 120-125). Macbeth’s blind ambition leads him to trust no one (not even his own conscience) but the witches, and it is this same blindness that stops him from interpreting the apparitions and prophecies in the right way.He always considers the convenient part of these half truths, but is never attentive of the inconvenient aspects they imply, depicting to the audience Macbeth’s lack of consciousness and his path to disintegration. Through this, we go back to the firstly mentioned irony implying his â€Å"success† took Macbeth to defeat. Hence, dramatic irony influences the play in different aspects (such as the themes of appearance and reality and equivocation) and proves the characters’ lack of awareness of the forces of evil that take such a substantial part in it.

The stinger †high, harsh sound used particularly Essays

The stinger – high, harsh sound used particularly Essays The stinger – high, harsh sound used particularly Essay The stinger – high, harsh sound used particularly Essay How and why do music and image influence each other in media that combine ( e.g. music picture, advertizements, movie etc. ) and what effects and affects does this hold on the audience? Introduction The usage of music in concurrence with ocular imagination has a broad scope of maps. Its survey is a comparatively recent phenomenon which appears to hold gained land with the increased drift for multidisciplinary attacks to academic survey, and these are relevant here. Because of the complex nature of music and image interaction, this essay begins by looking at cardinal elements of musicology, sociology and psychological science that relate to analyze of audiovisual texts. This will demo how a scope of influences impact on an individual’s affect and response when exposed to audiovisual media, and gives some indicant of the complexness of this procedure and the troubles in analyzing it. Following this, assorted illustrations of different audiovisual media will be considered to demo how consequence and affect plants in pattern. It should be noted that affect’ is used as a psychological science term, as outlined by Tagg: an affect is felt by a human when his feelings are aroused by an external †¦stimulus. The province in which this human therefore finds himself is an affectional state ( 1979: 33 ) . Effect’ is explored by Branston et Al in a treatment of the effects theoretical account ( 2003: 148-153 ) , and its consideration of whether media power consequences in e.g. force in society. It can be seen as holding a broader application closer to its Oxford English Dictionary definition of result or effect of an action etc. There is some crossing over in significance, but the context and nomenclature should avoid confusion in this essay. Background Theory Musicology The inclusion of musicology in any multidisciplinary survey is complex in itself, as musicology is so extremely specialised that its nomenclature and application remain distant from non-musicians, and are frequently hard to explicate in ballad footings. Furthermore, musicology has strong roots in the survey of Western classical manners, and this frequently presents challenges when nearing other genres of music, allow entirely non-musical subjects. Middleton, for illustration, identifies musicological nomenclature biased towards the parametric quantities prioritised by classical music, reflected in notation ( 1990: 104 ) . Notation itself reflects a musical civilization to a great extent dependant on written/read media instead than an aural tradition, and is therefore suited to the written/read civilization of academic discourse. For aural traditions, which underpin popular manners, there is as yet no universally accepted criterion. Added to the analysis of music in ocular civilizations is the demand to understand the cultural background of musical manners and the manner in which peculiar audiences relate to them. A failure to recognize these nuances can take to inaccurate generalizations. In advertisement, for illustration, Blake suggests that When American popular musics are used, the codifications are less easy to analyze in footings of power and affect than in Cook’s classical examples†¦the ads imply that their merchandises with bestow the imagined freedoms and pleasances of America on the consumer ( 1997: 232 ) . Yet it is arguable whether the usage of Nat King Cole singing There May Be Trouble Ahead’ as the soundtrack to an Allied Dunbar advert ( cited by Blake 1997: 234 in another treatment ) confers this significance. The advert’s cardinal character is a stereotypically white, middle-class British man of affairs, reflecting the demographic at which the advert is targeted, and th e music has been used for its lyrical relevancy. Blake discusses the issues sing a white character lip-synching to a black singer, yet it is likely that many of the advert’s viewing audiences would non be cognizant of who they could hear, nor of his ethnicity. The generalization sing American popular musics is misdirecting in itself: for illustration, Reebok’s advert having US rapper 50 Cent, concentrating on his lasting being changeable nine times, does non propose freedom or pleasance. Cook suggests that music heard as an unaccompanied text i.e. without attach toing visuals, seldom raises clear issues of significance ( Cook 1994: 27 ) . This is possibly instead simplistic, as a figure of musical devices are associated with significance e.g. the usage of a minor key to arouse unhappiness, choler and other negative’ tempers, and these can act upon the reading of a ocular narration ( Vitouch 2001 ) . Cultural issues can add to this phenomenon. InDifferentiations, Bourdieu presented the consequences of an extended study into societal background, gustatory sensations and behavior, placing what he termed cultural capital’ , an acquired cognition of how to act in order to derive praises within society. This included factors such as favorite music, and penchants translate into codes’ which members of the same societal group can read and exhibit. The consequence, Bourdieu says, is that a work of art has significance and involvement merely for person who possesses the cultural competency, that is, the codification, into which it is encoded ( Bourdieu 1984: 2 ) This theory was extended by the work of Sarah Thornton, who undertook extended research of the UK nine scene in the late eightiess and early 1990s, and developed the construct of subcultural capital ( Thornton 1996 ) . The marks and codifications of this are exhibited in subcultures much as they are in wider society, but frequently subvert conventional hierarchies. Thornton and Bourdieu shed some visible radiation on how different sections of society articulate individuality, but reading is far more complex. There are many illustrations of a deficiency of subcultural capital taking to misidentify decisions: The civilization of rave is the civilization of childhood†¦both male childs and misss have normally been seen sucking conciliators [ silent persons ] says Tomlinson ( 1998: 200 ) , misconstruing their usage to antagonize the consequence on jaw musculuss which is a side consequence of the drug rapture, widely used within the subculture. Blake’s references to American popular music discussed in the debut demo a similar deficiency of subcultural capital. Subcultural codifications evolve over clip, adding to troubles understanding and construing them, but they are frequently of import to analysis of an audiovisual text ; in advertisement, they may be cardinal to appealing to a peculiar mark market. Cultural and subcultural codifications are, to some extent, psychological, reflecting a wish to joint individuality and to belong to a societal group. This may be behind the determination that if classical music is played in wine stores, clients tend to purchase more expensive vinos than if the Top 40 is played ( Areni and Kim 1991, cited in Wilson 2003: 94 ) , and reflects aspirational every bit good as existent individuality. Musical gustatory sensations besides have a bearing on response: topics in an experiment where a assortment of music was played in a university cafeteria rated it more positively when it played music they liked ( North and Hargreaves 1996, cited in ibid ) . While gustatory sensations in musical genres appear to be linked to cultural capital, other facets of gustatory sensation nexus to personality. A study of 3500 persons enabled Rentfrow et Al to show four contrasting personality types, each with a type of music they preferred ( 2003 ) . There was a correlati vity between wishing intense, rebellious music and being unfastened to new experiences, being athletic and verbally able and seeing oneself as intelligent ( ibid: 1249 ) . This may be relevant for advertizers: for illustration, to sell athleticss vesture, genre entreaty to a subcultural group may non be plenty if the music is more appealing to those who are non athletic ( who were found to prefer brooding, complex music: ibid: 1248 ) . The above illustrations show how many procedures are at work in the reading of an audiovisual text, both by its intended mark and by the analyst, and travel some manner to explicating the misreading of texts, even by those considered experts in their field. Ocular Media and Music Music has two chief maps when used in advertisement: stigmatization and helping memorability. The extent to which music makes an advert memorable can be demonstrated by grounds that some advert music retains its associations with a merchandise in the heads of persons for many old ages after the adverts are regularly broadcast ( Brierley 2002: 153 ) – for illustration, the 2nd motion of Dvorak’sNew World Symphonyis strongly associated with Hovis staff of life. There is significant grounds that the music in advertisement is more memorable than the words ( Fowles 1996: 132 ) . In add-on to the music being memorable, it may assist reenforce words in the consumer’s head. The original intent of the advertisement jangle – a short motto or rime associated with a specific merchandise and frequently set to music – was to aid memorability, although jangles were progressively dropped in favor of more sophisticated musical stigmatization from the 1980s. This is apparent in interviews with forces from temper music libraries ( Tagg 1980 ) , where Ron Singer of KPM notes increased penchant among clients for known melodies ( ibid: 8 ) . O Sole Mio, a vocal composed in Naples in the 19Thursdaycentury, is well-known by many British consumers as music from Cornetto advertizements, where the text Just one cornetto’ was substituted. In other fortunes, the original words relate to the merchandise as in, for illustration, Dulux’s usage ofA Whiter Shade of Pale( Brierley 2002: 179 ) for publicizing its scope of white pigment with a intimation of coloring material. The success of advertisement is frequently measured by consumer research into rates of callback, yet there is no established relationship between callback and action ( Brierley 2002: 169 ) , so it is hard to set up the extent to which music such as the Cornetto theme’ really creates gross revenues i.e. it is non clear whether the affect ( acknowledgment, acquaintance ) leads to consequence ( purchase of the merchandise ) . Branding can besides be assisted by music ( Brierley 2002: 169 ) , with different genres implying different trade name values. For illustration, classical music is associated with quality and position ( as demonstrated by the vino store experiment discussed antecedently ) . This was used by Citroen in an advert for the ZX 16v which featured music from the overture from Mozart’sThe Marriage of Figaro: †¦the music imbues the merchandise with prestigiousness that attaches to classical music in general and ( for people who recognise it ) to opera in particular ( Cook 1994: 30 ) Prudential developed an advert with narrative refering a immature adult male desiring to be a stone star, but used a classical soundtrack, even when the ocular image was of a stone set playing ( ibid: 33-5 ) . This suggests that the advertizers intended to make the feeling of a quality merchandise and that the demographic of the mark market was different to that of the person depicted in the advert. This usage of music is described as non-diegetic: it does non emanate from a ocular beginning. . The Prudential advert ends with a harmonic patterned advance towards a resolution meter which accompanies the visual aspect of the Prudential logo, described by Cook as pass oning that Prudential is the ( rhenium ) solution of all your problems ( ibid: 35 ) : he notes that musical linguistic communication can non be censored, but that the equivalent, if verbalised, would neglect to acquire past the Ad Standards Authority ( ibid ) . The genre and harmonic construction of the music used by Prudential is, in this instance, more of import than its specific individuality. Levi’s adverts having music by Babylon Zoo and Stiltskin in the 1990s show another attack: the usage of unknown music, with lower costs, to bring forth extra involvement among consumers. The vocals, played on wireless and Television out of context of the advert, still created psychological affect of Levi’s intension, deriving extra exposure for the trade name while besides assisting establish the callings of the soundtrack artists. The consequence was increased gross revenues for both parties. In other fortunes, a well-known vocal may be appropriate to run intoing an advertisement’s aims. In Labour’s recent advertizement, Dave the Chameleon is codification for the inconsistent positions of David Cameron, the Conservative leader. The usage of Culture Club’sKarma Chameleonnon merely refers to the ocular chameleon image, but is besides a well-known piece of music among people in their mid-thirtiess and mid-fortiess to whom Labour peculiarly want to appeal. The Guinness surfer’ advertizement uses much more extended intertextuality ; merely that refering the music is discussed below. The white Equus caballuss symbolise a metaphor ( white horses’ is sometimes used to mention to surf ) visually, while the membranophones represent it aurally, with intensions of thumping hooves. Simultaneously, the spoken text refers to the fat drummer’ , once more linking with the membranophone path and the hooves. The extent to which the membranophones have trade name intensions is problematic: they are taken from the Leftfield path Phat Planet’ , and possibly transport some of the praise of the creative persons, considered to be peculiarly advanced within the dance genre, but the path was non widely known before its usage in the advert. This may make the affect of elevated image for Guinness through its presentation of consciousness of this music: the advert, in consequence, has its ain subcultural capital. The music picture became a cardinal constituent in popular music in the late seventiess as portion of a heightened consciousness of the potency for blending media for commercial advantage: The rise of the video-clip encouraged †¦ blurring of the traditional stone distrinction between doing music and selling a trade good †¦the consequence of video-pop was to switch the balance between pop’s aural and ocular elements ( Frith 1990: 176 ) Music videos expose a scope of codifications associating to genre, proposing support of musical individuality instead than creative activity of it. For illustration, heavier stone manners are more likely to have footage of set public presentations. Authoritative FM Television shows a peculiar set of conventions: the performing artist ( s ) are typically filmed presenting a public presentation of the work and the context often features classical architecture, non needfully that of a concert hall, underscoring a sense of high culture’ . Much of the featured music uses elements of simple crossing over, for illustration, utilizing a stone or dad membranophone form behind an orchestral agreement, and this commixture of genres may be reflected in the styling of the performing artists. The vocalist Marina Laslo’s Caruso’ picture features her in a computer-generated opera house, have oning a formal eventide frock, but with heavy oculus makeup and windswept loose hair mor e in maintaining with a stone picture. Guns and Roses’ picture forSweet Child of Minedemonstrates how a conventional public presentation stone picture can be combined with another narrative through diegetic and non-diegetic devices. Clear, color images of the band’s public presentation, fiting the audio path ( i.e. diegetic ) , are juxtaposed with non-diegetic farinaceous images of set members off from the public presentation, fans and technicians doing the picture, supplying a narrative about the picture production every bit good as making a conventional picture. The multiple texts on occasion interact more vividly: for illustration, the word eyes’ in the words is underscored by farinaceous ocular footage of a fan’s eyes. The picture therefore maintains the intensions of genuineness through ocular portraiture of a conventional public presentation, while at the same time portraying an offstage’ , with the deduction once more of world and genuineness, supplying a farther aspect to the ban d’s image and a more interesting ocular experience. A cardinal inquiry sing music picture is the extent to which it is influenced by subculture and the influence it has on subculture. Research in the US suggests that the latter is the instance sing hiphop picture, which have developed a peculiar manner often pulling on overtly sexual dance by adult females for the benefit of male dad creative persons. A survey of 522 misss found a direct correlativity between the hours of such pictures seen over the class of a twelvemonth and degrees of drug and intoxicant usage, incidence of multiple sexual spouses and happening of STDs. This correlativity held when other facets such as societal background were taken into history ( Amber 2005 ) . It could be argued that as the stars in the pictures are admired for their musical prowess, the msuic confers acceptibility on and even condones the behavior seen in the ocular images. The inquiry of writing comes into drama with music picture, as constructs and way may be the duty of an person who is non involved with the musical composing: for illustration, Steve Barron was credited with the advanced attack to video for a-ha’sTake On Me, which combined conventional movie and life, with a narrative that provided a context for the wordss and gave them extra significance: the words became text Sung by the male character in the picture ( played by the band’s singer, Morten Harket ) to the female character as portion of the video’s story’ . TheTake On Mepicture is credited with establishing a-ha’s calling ( the vocal had been released twice antecedently, with a different picture ) : this may be due to frequent exposure through the media because of its ocular entreaty, conveying the vocal to the attending of those who might non otherwise have heard it. Alternatively, it may hold provided an extra dimension to the musical text and its sensed significance that made it more attractive to consumers, doing the affect critical in taking to the consequence of purchase. The creative person may still hold a grade of control through their public presentation, and may besides be to a great extent involved with the creative activity of the picture construct for their vocal: In a music picture the performing artist s frock, gestures, diction, and manner all become marks apt to interpretation†¦ Performers like Queen Latifah plan their ain pictures and work with their manufacturers and co-workers to make an image ( Roberts 1994 ) . Therefore music picture non merely straddles ocular and audio look, but besides the spheres of look and advertisement. It could be argued that adverts such as the Guinness surfer’ advertizement discussed earlier attack artistic look from a commercial sphere, with the state of affairs reversed for music picture. It has been argued that the whole point of a soundtrack mark is that it should be experienced and non heard ; that if we can actively hear the music, it is non working ( Blake 1997: 226 ) Surely there is some grounds that non all movie audiences actively register that music is attach toing the ocular and verbal elements of a movie ( Vitouch 2001: 71 ) . Howard Goodall, chiefly known for his Television subjects, emphasises a prioritising of ocular elements: Accept that if you are composing for Television or movie you are composing in a ocular medium and you are figure two ( Kingston 2000 ) . Film music ranges from the brief, unresolved pang of the stinger’ chord, a device widely used to underscore a sudden development in the action, peculiarly in horror movies, to the soundtrack vocal that becomes bound up in intending with the film’s narrative. In between is an extended repertory of music written specifically for movies, frequently composed so that musical devices coincide with specific frames. Less specificity is possible where preexistent pieces of music are used, but these may hold intensions of import to the narration: InWitness, the barn scene between Harrison Ford and Kelly McGillis sparked by Sam Cooke’s ( What a ) Wonderful World’requiresa vocal that will arouse a comparatively guiltless and unsophisticated cultural yesteryear ( the early sixtiess ) every bit good as supplying a clear coevals designation and a carefreeness for Ford’s character that is otherwise missing ( Stilwell 2002: 44 ) For bespoke movie music, the relationship between the movie manager and the composer may be more challenging. An nameless movie music composer describes the job of the director who doesn’t understand anything about music and is scared at the reference of a soprano clef or a crotchet – it’s about every bit near as he’ll get to music – but he knows what he wants in his mind†¦but he can’t pass on it to the composer ( Tagg 1980: 50 ) . Here there are illations of music picture in contrary: the movie is the primary text and the music secondary, while in music picture the music is the primary text. In both instances, the primary text is conceived prior to the secondary. Yet Marks argues that movie music is precisely that: a combination of movie and music and one can non be considered without the other ( Marks 1979: 283 ) . In ideal fortunes, the music creates synergism with the movie. This is the state of affairs with Isaac Hayes’ mark forShaft, which established musical codifications for portraiture of the urban landscape populated by the immature black mark audience: chattering, metallic wah-wah guitar†¦.opposition of funk beating against exuberant flutes and strings†¦ mapped a noirish vision of metropolis life, a mobile chase of sensualness through dirt, emphasis and elating speed ( Eshun 1995: 78 ) . These codifications were farther established in Curtis Mayfield’sSuperflymark every bit good as Television subject melodies such asKojak( Tagg 1979 ) . They were nevertheless, later appropriated by Hong Kong soldierly humanistic disciplines movies, and blaxploitation soundtracks looked to hiphop alternatively ( Eshun 1995: 78 ) . This shows the importance of positioning such movies through the associatory power of subcultural codifications. As codifications evolve, so excessivel y might impact and consequence within mark audiences. Yet many movies use the musical devices of Romanticism to back up a film’s narration. TheStar Warsmovies, for illustration, deploy leitmotif, peculiarly associated with Wagnerian opera. Indeed Evenson ( 2004 ) identifies a figure of similarities between theStar Warshexology and Wagner’sRingingrhythm non merely in secret plan and construct, but in similarities between leitmotif of characters with similar functions. For the classical composer, there are clearly analogues between the opera and the film-with-music genres, and the leitmotif provides an chance to underscore the personality and function of a character. The temper of the music non merely helps make an feeling of character, but besides builds context in a manner that visuals entirely may non be able to. This was demonstrated in a survey where groups of topics were shown the same piece of movie, with the original, upbeat/neutral Rozsa mark for one half of the sample and Barber’s more melancholyAdagio for Stringsfor the other half. The topics were so asked what was go oning in the scene and where the secret plan would take, and the consequences showed a doubling of negative affect when the Barber version was shown ( Vitouch 2001 ) . This does, nevertheless, depend on certain musical conventions, such as the association of a minor key with a negative temper. In civilizations where such conventions are less established, it is likely that the consequences would be different. The soundtrack vocal can get extra significance in a similar manner to music picture. The picture for Celine Dion’s My Heart Will Go On characteristics merely really brief infusions from the movie but the music alludes to the movie narrative, with an Irish ( uillean ) pipe consequence implying the male hero’s Irish individuality. For those familiar with the movie, the extra intension of tragic narrative and the hero’s decease may rise affect. Television has appropriated musical devices common to movie and advertisement e.g. the horror movie stinger’ used inHow Clean is Your Houseto mean bacteriums or insect infestations. Certain tendencies are noteworthy across a scope of programmes: for illustration, a alteration of topic in a light amusement programme such asCash in the Atticor60 Minute Makeoveris marked by a brief jangle or motive, with a musical backup to a non-diegetic verbal commentary which is cut for any diegetic address. Music is used to make involvement when there is small go oning verbally in many programmes ; a long-standing illustration is the half infinitesimal piece attach toing each mystifier onCountdown, which builds through lifting keys to make tenseness, culminating with a syncopated ostentation. Music is besides used for stigmatization: Channel Four has a four-note motive. BBC1, meanwhile, has a two-phrase melodious subject used for fluctuations in at least 10 different musical manners, with sympathetic dance-routines and an accent on the colors ruddy, white and black in the dancers’ outfits to reenforce stigmatization. It is noteworthy that, although these tableaus are played instantly anterior to programmes, the manner of music and any subcultural deductions appear to be random instead than matched to the mark audience of the undermentioned programme. Programs, TV’s products’ , are branded by theme melodies: these have the double intent of a call to action ( if heard from another room, the spectator will frequently recognize the subject melody of a programme they want to watch and be able to come to a sing country ) and coding for the type of programme. Thus assortment and peak clip confab shows typically have large set music, a lively manner without narrow subcultural intensions, therefore underscoring comprehensiveness of mark audience. Musical fragments may besides get their ain significance: the membranophone round motive at the terminal of each episode ofEastendershas become a musical codification to denote a cliffhanger’ . Although Television and film are the chief established audiovisual media, more recent engineering has extended its range. The cyberspace and computing machine games are progressively deploying more sophisticated background music, and display many of the techniques described in the old subdivisions. The stigmatization of games, for illustration, has of import subcultural elements, as observed by David Pokress, planetary trade name director for Activision Inc. : It’s non merely about the games, it’s about the life styles that accompany them ( Satzman 2001 ) . The illustrations above shows the broad scope of applications of music combined with ocular image, from adding significance, impacting reading of ocular elements, confabulating value onto a merchandise and assisting make an individuality, whether for a auto in an advert or for a character in a movie. The ocular narration, meanwhile, can reciprocate by adding significance to music e.g. through the ocular narration of a music picture. The affect and consequence depend to a great extent on the audience’s acquaintance with a scope of cultural and subcultural codifications, and the analysis of the creator’s purpose may be different to an analysis of response: A text is made of multiple Hagiographas, drawn from many civilizations and come ining into common dealingss of duologue, lampoon, controversy, but there is one topographic point were this multiplicity is focused and that topographic point is the reader, non, as was hitherto said, the author ( Barthes 1977: 148 ) . The many illustrations of music and ocular image interacting show the importance of reading every bit good as creative activity, and demo the broad scope of possible that music and image have to make significance, affect and consequence through their interaction – and the importance of understanding this for all those working in assorted media. Amber J ( 2005 )Dirty DancinginKernelMarch 2005 www.findarticles.com/p/articles/mi_m1264/is_11_35/ai_n11830675 Barthes R ( 1977 )The Death of the WriterinImage, Music, Text( Fontana, London ) pp142-8 Blake A ( 1997 )Listen to Britain: Music, advertisement and postmodern civilizationin Nava M, Blake A, MacRury I and Richards P ( Eds. )Buy This Book: Surveies in Ad and Consumption( Routledge, London ) Branston G and Stafford R ( 2003 )The Media Student’s Book3rdEdition ( Routledge, London ) Brierley S ( 2002 )The Ad Handbook2neodymiumEdition ( Routledge, London ) Bourdieu P ( 1984 )Differentiation: A Social Critique of the Judgement of TasteTrans. Nice R ( Routledge, London ) Cook N ( 1994 )Music and Meaning in the CommercialsinPopular MusicVol 13/1 pp27-40 Donnelly K ( 2001 )Pop Music in British Cinema( British Film Institute, London ) Eshun K ( 1995 )From Blaxploitation to RapsploitationinCelluloid Jukeboxerectile dysfunction. Romney J and Wootton A ( British Film Institute, London ) Evenson K ( 2004 )The Star Wars series and Wagner’s Ring: Structural, thematic and musical connexionsat www.trell.org/wagner/starwars.html Fowles J ( 1996 )Ad and Popular Culture( Sage, London ) Frith S ( 1990 )Frankie Said: But what did they intend?in Tomlinson A ( Ed. )Consumption, Identity and Style( Routledge, London ) pp172-185 Hebdige D ( 1988 )Hiding in the Light: On Images and Thingss( Routledge, London ) Kalinek K ( dateless) John Williams and The Empire’ Strike Back: The Eightiess and Beyond: Classical meets Contemporaryweb.archive.org/web/19970516041818/ hypertext transfer protocol: //citd.scar.utoronto.ca/VPAB93/course/readings/kalinak.html Kingston P ( 2000 )Compose YourselfinThe Guardian09/05/2000 Laing D ( 1990 )Making Popular Music: The consumer as green goodsR in Tomlinson A ( Ed. )Consumption, Identity and Style( Routledge, London ) pp186-194 Marks M ( 1979 )Film music: The stuff, literature and present province of researchinNotes36 1979 pp282-325 Middleton R ( 1990 )Analyzing Popular Music( Open University Press, Buckingham ) Miller D, Jackson P, Thrift N, Holbrook B and Rowlands M ( 1998 )Shopping, Place and Identity( Routledge, London ) McIntosh H ( 2004 ) Music picture precursors in early telecasting scheduling: a expression at WCPO-TV s inventions and parts in the 1950s in Popular Music and Society October 2004 www.findarticles.com/p/articles/mi_m2822/is_3_27/ai_n6330575 Nava M, Blake A, MacRury I and Richards P ( Eds. ) ( 1997 )Buy This Book: Surveies in Ad and Consumption( Routledge, London ) Redhead S ( 1993 )Rave Off: Politicss and Deviance in Contemporary Youth Culture( Avebury, Aldershot ) Rentfrow P and Gosling S ( 2003 )The Do Re Mis of mundane life: the construction and personality correlatives of music penchantsinJournal of Personality and Social Psychology2003 84/6 1236-1256 Reynolds S ( 1998 )Energy Flash: A Journey through Rave Music and Dance Culture( Picador, 1998 ) Roberts R ( 1994 )Ladies First : Queen Latifah’s Afrocentric womens rightist music pictureinAfrican American ReviewSummer 1994 www.findarticles.com/p/articles/mi_m2838/is_n2_v28/ai_15787237 Satzman D ( 2001 )Playing Music – picture games offer music selling platformin Los Angeles Business Journal 22/10/2001 Sinclair J ( 1987 )Images incorporated: advertisement as industry and poli

Writing Dialogue In Accents and Dialect

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