In this scene we witness 'HAL' the central computer kill 'Frank' with a piece of space machinery, rather than a build up of tension or fear by use of music 'Kubrick' utilises an eerie atmosphere created by the presence of breathing and a hissing noise.
'Frank' exits the space pod seen on a screen inside the ship, 'HAL's' eye is just to the right of this activity. 'HAL' becomes personified by the space pod from then on.
We see "Frank' in the background float to part of a small spaceship his breathing is heard throughout this sequence. The lights on the space pod suggest that 'HAL's' presence as he remains still looming over 'Frank' ominously.
The pod then begins to turn as 'HAL' becomes hostile, and the aspect fear becomes introduced.
'Frank' now a small golden figure in distance contrasting with the dark shadow cast over 'HAL'
The vacuum of space dictates the limitations of diegetic sound helping to encapsulate the menacing figure of 'HAL' as he turns slowly in his liberty.
The framing of 'HAL' remains static throughout this turning sequence.
As the pod turns to a direct facing position toward the camera the arms of the pod begin to lower initiating an attack movement.
The lights flare up at the viewer and the hissing sound begins to get considerably louder.
The pod moves swiftly toward the camera with the mechanical arms opening up into a pincer like manner.
They eye of 'HAL' gets ver closer...
A cut to this shot is then used the sound slightly drops in the cut.
In this next cut the sound is dropped completely it feels intimidating and strange.
The viewer is switched from voyeur to victim within the space of two cuts.
At this point the eye of 'HAL' becomes so close its almost human as we are quickly faced with the malicious computer.
The last shot in these string of cuts is the eye of our killer a threatening ambience.
In this next cut to the inside of the spaceship we see 'David Bowman' sat in a slanted medium shot witnessing the death of his colleague, the diegetic sound is then brought backas we abandon the vacuum of space returning our original position as a voyeur.
At the beginning of this scene we observe a group of monkeys as they jump around in great hostility taunting a rival group, two then fight each other resulting in the death finalised by the use of a large bone as one beats the rival. The diegetic sound of the monkeys screaming is heard for around a minute and a half, the victor of the fight is then framed on his own in a medium shot, the sound of their screams become echoed and jittery subsequently fitting with the slow motion editing as the frame rate is decelerated. The diegetic sound fades accordingly as we see the monkey throw the bone he used for a weapon into the air, a cut to a close up of the bone in mid air and then a quick cut to another as the bone escapes the frame, the shot is held until the object falls following it for at least three seconds, a jump cut to a space scape is then utilised as the see a space ship floating through space. The motion of the space craft mates that of the bone in perfect harmony suggesting a strong relation between the two elements, the jump cut also allows a leap in millennia much like the opening scene but in reverse.
The graphic match cut in this scene establishes the logical coherence between the burning flame of the match struck by T.E Lawrence and the sweltering heat pictured in the adjacent shot of the desert as the sun rises on the horizon. Though the match and the sun dont match directly as objects or in terms of framing, the connection between the two is more conspicuous. The initial striking of the match by Lawrence initiates his failure to resist the desert we see him gaze at the match as if it were alive this motif marks the beginning of his burning desire to explore what will soon become a siren.
The scene opens with a briefly held shot of a small tunnel combined with high pitch non diegetic music ,creating instant tension within the dystopian streets. As the silhouetted characters run past the frame of the camera it begins to follow them, instantly the audience are no longer a voyeur and become part of the faction. As the group progress through the war zone the non diegetic music fades out, however is still underlying throughout, as this happens the diegetic sounds of guns and shouting are quickly introduced. As the trucks go past the audio is panned accordingly, the group move further into the streets with the camera following once again the high pitch music begins to get louder suggesting danger is nearing. The group become separated leaving the central protagonist to find the woman and child, the music is reduced to a low amplitude as the protagonist avoids gunfire moving in and out of cover until he gets to block of flats, the non diegetic high pitch ambience is then introduced for a final time, screams of frightened people are heard throughout the crevices of the building, once the baby is found and the antagonist is killed the sound of the gunfire is lowered considerably, harmonic music is faded in to suggest an end to the violence as we follow the protagonist down the stairs and out of the building with complete absence of hostility.
In this scene we see the American soliders storm the beach under heavy fire from the German machine gunner. Prior to what is seen in this video the diegetic sound from the machine gun fire as well as shouting can be heard clearly, a bomb then lands near to Tom Hanks placing him into a state of shell shock, the diegetic sound of gunfire is considerably lowered and the voices of fellow soliders cannot be heard, a whirling ambience is added immediately expressing Tom Hank's catatonic state of mind. POV shots are cut together showing panic and pain felt by his comrades, a CU shot of his face is held and reverse shot with another solider shouting at him, the whirling starts to fade out into the diegetic beach sounds, the dialogue of the solider is then clearly heard reflecting the fact Tom Hank is once again conscious.
This fight scene involving Jason Bourne and an assassin has been filmed on multiple cameras and heavily cut to create an extremely high paced action sequence. The non diegetic drum beats initiate the accelerated montage and help to maintain the overall tempo, the actual diegetic sounds have been amplified to give a more dramatic effect to the scene, sounds such as the punches in particular are heard throughout however in real life wouldn't be as noticeable. Quickly panned shots have been cut to match another angle of the same piece of movement, this gives the whole scene a more fluid feel.
The opening scene begins with a wide establishing shot slowly tracking towards a large reflective building, accompanied with a droning sound. As the window smashes the tone discreetly changes to a higher pitch violin with more pace creating anticipation and anxiety, bass is then introduced initiating the heist at this point the diegetic sounds of the city become apparent, as the car swerves into pick up another clown the music alters its tone again reflective of how dramatic the robbery is, maintaining tension throughout. The theatricalness of the heist works with the types of instruments used in the music piece, the clown masks promote an ostentatious take on a serious crime.
This scene marks the metamorphosis of "Ryan Gosling's" character as he says farewell to "Irene" before he departs never to return there is no chance of them ever being together after this. The ethereal soundtrack eliminates the diegetic sounds as he moves over towards he in a protective manor, he shields out the assassin next to him as they engage in a brief romance painted golden by the glowing lights accentuating his jacket which becomes more important later in the scene. The rich golden interior of the lift suggests his temptation, the sweet taste before decay, he's made his decision, the sensation is short lived before the frantic violence overwhelms his character leaving "Irene" with no choice but to leave him.
There is a brief pause before the diegetic sounds resume, the music has completely died out "Irene" can do nothing but watch as "Ryan Gosling" eliminates the assassin in the brutalist of mannor. He turns his back to her as he disfigures the man lying unconscious on the floor, from "Irene's" perspective all she can see if the scorpion staring right back at her as his body moves the insect becomes animated, in this violent act his embodies the scorpion justifying his animalistic nature.
