Musonic 1010 Sound And Media Assessment Answers

Answer:

The starting prospect from Preminger’s Laura (1944) communicates a case analysis of two individuals (Vincent Price who acts as Laura’s fiancée and Mark McPherson as the detective). Narrating in a voiceover spoken words, Lydecher presents a standard noir introduction in reference to Laura’s death on a weekend. The voiceover oozes a sycophantic and snootiness comment of an American Sam Spade or a lackluster police[1]. Another character presented in this film is Gene Tierney acting as Laura (film hero).  The character appears great in stills with perfect features, but is never involved emotionally. The film opening presents McPherson who stands out straight chain smoking and speaks monotonously to interrogate Price. The story is presented effectively with the use of visual impressions while Lydecker narrates the florid panning the camera over Price’s apartment to illustrate Laura’s account during her last moments. The scenario and status of the apartment presents an opulent and ornate definition of Price’s social and economic world[2].

Vincent price receives an incoming visitor, ‘detective McPherson’, who takes over to commence the conversation with the haughty writer. The detective is mystified about Price’s mode of bath-study, which describes a contrast in study whereby the former is a Hollywood detective having a notebook and a cigarette. Lydecker speaks to the detective in a disdaining manner ordering for a fetch of a bathrobe and washcloth. However, McPherson refuses to submit to the order at first and stiffens oversensitively.

Themes

The main theme illustrate in the opening scene of this film is the inspective necrophilia[3]. The theme is defined by McPherson’s lengthy interrogation with Price to fact-find the cause and definition of the actual murder victim and if the main victim can be forgiven for entering into a relationship with the venerated representation of the individual. In this scenario, McPherson can be excused for the unforgettable present of Laura chase in an oil of the stipulated image. The world strongly believes that McPherson’s extensive sexual attraction to the female gender is due to desire to know if the victim is a dead body or not[4]. The detective accepts to sidestep a creepy result of his aspiration after losing credit after an awkward conversation.

Lesson learnt

The main idea revealed which strain an individual in focusing about a different person lifestyle is said to be portrayed to be secretive, or as a series of red herring or list of clues which exhibits there was love among the two people[5]. The ragged positivity of the level of competence, messed lives, and our splintered willingness is shown to be an abomination of the romanticize perception[6]. Although with and assured an assured look which tries to capture every aspect, while attempting to comprehend the smile of Mona Lisa, which is the vantage point of the enthusiast. Fascinated by the love issue attempts to cover a considerate angle. Due to this reason, it makes Laura very enthralling; through extension, McPherson the movie viewer is thus allowed in this ideal viewpoint.

Extra Credit Selection

Therefore the film’s ultimate masterstroke is shown to be ranging within a slanting scuffle carried on by Waldo aligned with McPherson which commences when Waldo is position in the bathtub and thus proceeds to the dinning place with each mimicking each other’s habits. With each couple having a negative attitude, Waldo is acting as the disturbed lover in this scene unlike his kind friendly ways when he is with Laura, with each of the people are showing an unpleasant and envious mania for the wicked object and the deceased one. By doing such, they turn out to being the most persuasive couples in the whole movie. In life, there is nothing much revealing compared to the force binding two people together, despite the fact that they are cautiously identifying various weak spots of each other[7]. Since Laura was entirely for McPherson, the main area of focus for Waldo tended to be ideal and rather circling.

Bibliography

Caspary, Vera. 1944. MISE EN SCÈNE FROM LAURA (PREMINGER, 1944). Film. United States: Colliers, 1942 (serial); Houghton Mifflin, 1943.

Etkind, Charlene. 2005. "American Film: Musical Themes And Forms (Review)". Film &Amp; History: An Interdisciplinary Journal Of Film And Television Studies 35 (2): 94-95. doi:10.1353/flm.2005.0038.

Gilmore, Cody. 2017. "Homunculi Are People Too! Lewis's Definition Of Personhood Debugged". Thought: A Journal Of Philosophy 6 (1): 54-60. doi:10.1002/tht3.232.

Richard, Julian. 2012. Water For The City, Fountains For The People. Turnhout: Brepols.

Smyth, J.E. 2005. "Recycled Culture In Contemporary Art And Film: The Uses Of Nostalgia:Recycled Culture In Contemporary Art And Film: The Uses Of Nostalgia". Film Quarterly 58 (3): 69-70. doi:10.1525/fq.2005.58.3.69.

Stevens, Wallace, Elsie Viola Kachel Moll Stevens, and J. Donald Blount. 2006. The Contemplated Spouse. Columbia: University of South Carolina Press.

[1] Caspary, Vera. 1944. MISE EN SCÈNE FROM LAURA (PREMINGER, 1944). Film. United States: Colliers, 1942 (serial); Houghton Mifflin, 1943.

[2] Gilmore, Cody. 2017. "Homunculi Are People Too! Lewis's Definition Of Personhood Debugged". Thought: A Journal Of Philosophy 6 (1): 54-60.

[3] Etkind, Charlene. 2005. "American Film: Musical Themes And Forms (Review)". Film &Amp; History: An Interdisciplinary Journal Of Film And Television Studies 35 (2): 94-95

[4] Richard, Julian. 2012. Water For The City, Fountains For The People. Turnhout: Brepols.

[5] Stevens, Wallace, Elsie Viola Kachel Moll Stevens, and J. Donald Blount. 2006. The Contemplated Spouse. Columbia: University of South Carolina Press.

[6] Ibid.

[7] Smyth, J.E. 2005. "Recycled Culture In Contemporary Art And Film: The Uses Of Nostalgia:Recycled Culture In Contemporary Art And Film: The Uses Of Nostalgia". Film Quarterly 58 (3): 69-70