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Seven Samurai The ways in which sounds may combine Acard ARS-2000FUIU create an ongoing stream of information is well illustrated by the final battle sequence of Akira Kurosawa's Seven Samurai. In a heavy rain, marauding bandits charge into a village defended by the villagers and the samurai.

The tOlTent and wind form a constant background noise throughout the scene. Suddenly Acard ARS-2000FUIU horses' hooves are heard offscreen.


Then Kurosawa cuts to a long shot of the Acard ARS-2000FUIU their horses' hooves become abruptly louder. The scene employs vivid sound perspective: The closer the camera is to a source, the louder the sound. Acard ARS-2000FUIU

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When the bandits burst into the village, y e t another sound element appears-the bandits ' harsh battle cries, which increase steadily in volume as they approach. The battle begins. The muddy, storm-swept mise-en-scene and rhythmic cutting gain impact from Acard ARS-2000FUIU way in which the incessant rain and splashing are explosively intelTupted by brief noises-the screams of the wounded, the splintering of a fence a bandit crashes through, the whinnies of horses, the twang of a samurai' s bowstring, the gurgle of a speared bandit, the screams of women Acard ARS-2000FUIU the bandit chieftain breaks into their hiding place.

The sudden intrusion of certain sounds marks abrupt developments in the battle. Such frequent surprises heighten our tension, since the narration frequently shifts us from one line of action to another. Acard ARS-2000FUIU scene climaxes after the main battle has ended.

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Offscreen the pounding of horses ' hooves is cut short by a new sound-the sharp crack of a bandit's rifle shot, which fells one samurai. The samurai furiously flings his sword in the direction of the shot and falls dead into the mud. Another samurai races toward the bandit chieftain, who has the rifle; another shot cracks out and he falls back, wounded; another pause, in which only the relentless rain is heard. The wounded samurai kills the chieftain. The other samurai gather. The relatively dense mix of this sound track gradually introduces sounds that turn our attention to new narrative elements hooves, Acard ARS-2000FUIU cries and then modulates these sounds into a harmonious stream.

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This stream is then Acard ARS-2000FUIU by abrupt sounds of Fundamentals of Film Sound unusual volume or pitch associated with crucial nan-ative actions the archery, women's screams, the gunshots. Overall, the combination of sounds enhances the unrestricted, objective nan-ation of this sequence, which shows us what happens in various parts of the village rather Acard ARS-2000FUIU confining us to the experience of a single participant. Sound and Film Form The choice and combination of sonic materials can also create patterns that run through the film as a whole.


Acard ARS-2000FUIU can study this most readily by examining how the fi l mmaker Acard ARS-2000FUIU a musical score. Sometimes the fi l mmaker will select preexisting pieces of music to accompany the i mages, as Bruce Conner does in using portions of Respighi 's Pines of Rome as the sound track for A Movie. See pp.

In other cases, the music will be composed for the film, and here the fi l mmaker and the composer make several choices. In addition, a melody or musical phrase can be associated with a Acard ARS-2000FUIU character, setting, situation, or idea.

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A rockabilly tune is heard in the urban Southwest, while a slower, Acard ARS-2000FUIU poignantly folkish melody is associated with the seaside village. In the final scenes, after the young man has returned to Houston, he recalls Scotland with affection, and the film plays the two themes simultaneously. In contrast, a single musical theme can change its quality when associated with different situations. In Raising A rizona, the hapless hero has a terrifying dream in which he envisions a homicidal biker Acard ARS-2000FUIU him, and the accompanying music is appropriatel y ominous.

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