Sentences with phrase «diegetic music»

Then in our second segment we sink our collective teeth into the topic of diegetic music in video games and how that relates to the fourth wall, idle animations, in - jokes, and characterization in general.

By using Circle Percussion, a Dutch epic drums theatre group, we could combine all kinds of drumming sounds in our diegetic music as well as in our soundtrack - and all composers could «use» Niels, who used to be part of Circle Percussion, to record live percussion tracks.

Burnett contributes the best juice when he's talking about his choices for diegetic music, like outlining the provenance of Bo Diddley's «Bring It To Jerome.»

Still, it is noteworthy that diegetic music has not been adjusted for its treatment, thus sounding fuller on this alternate soundtrack.

Not exact matches

I don't like musicals except those that are diegetic (great movies like «Purple Rain», «Saturday Night Fever», «American Graffiti» are naturalistic music driven dramas not fantastical as is the traditional sense of the genre) but saw this as

I don't like musicals except those that are diegetic (great movies like «Purple Rain», «Saturday Night Fever», «American Graffiti» are naturalistic music driven dramas not fantastical as is the traditional sense of the genre) but saw this as a consolation on the day, so if you like musicals this might be your cup of tea.

The attendant 5.1 DTS - HD MA track proves that Zemeckis is still capable of turning on the afterburners with regards to mixing set - pieces (there's an almost musical quality to the Blitz as bombs clobber the subwoofer and hails of gunfire flank the viewer), yet when I think of Allied, I think of its restrained use of score — much of the music is diegetic — and of how Zemeckis finds a remarkable number of variations in the sound of the air around Max and Marianne's loaded silences.

Another scene sees diegetic sound overlap, creating the somewhat surreal impression of convulsing bodies dancing to the music at Luciano's dinner as they continue to be riddled with bullets.

Shot (with one exception) in black and white by Florian Ballhaus (son of Michael), the film is set to a score that is more industrial sound than music; yet, it is the combination of the clinically clean black - and - white cinematography, the disturbing score, and the narrative's single - minded focus on the protagonist's actions (there is no moment when the film seeks to psychologise him) by which the film manages to simultaneously solicit, on the one hand, our fascination with and, increasingly, horror about the events depicted — even long after Herold has proven how scarily easy it is for him to order mass murder (and, whenever necessary, to set an example by killing himself)-- and, on the other hand, to ensure that we keep some intellectual distance from the diegetic events.

The music selection, a mix of diegetic songs and a lovely score, brings even more depth to the film.

Each of these elements can be further sub-divided into types of dialog (voice - over narration or diegetic speech), music (source or score), and effects (footfalls, gunfire, or ambiences).

The soundtrack is muted, with some diegetic religious music but nothing like a traditional score; composer Brian Williams works more in unsettling scrapes and howls.

Throughout, Jonny Greenwood's omnipresent and beguiling score wafts over the drama, melding with diegetic sound, including pieces of music placed in the world of the characters.

For the first time in the enduring Morricone - Leone collaboration, a kind of pantomime pervades the music, with notes and actions so closely coordinated that the Charles Bronson character's theme becomes diegetic: Every time Bronson, called Harmonica because the instrument is practically his first language, blows into his harp, the resulting noise is incongruously omnipresent.

You have the syncopation of the diegetic sound to the music which happens throughout the movie.

Thus, the film's music is sometimes diegetic, but at other times is non-diegetic.

Joris de Man: The palette on my music settled on analog synths, cello, contrabass flute, found sound and Circle Percussion, who Niels van der Leest (diegetic composer) had introduced to us.

In July 2014, I presented my findings to the game director, the writers, and the designers, and they liked it so much they decided to put me on the «diegetic» (in - world) music for the game.