Chapter 4 discusses a variety of 19th-century musical types that are the forerunners of film music. Describe three of these, including their basic qualities, important composers, and similarities to film music.

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Explanation:

1. to intensify or relax the pace of a film

2. to reflect emotion

3. to create "unspoken" thoughts of a character or unseen implications of a situation

4. to parallel or underscore the action (Mickey mouse the action)

5. to create atmosphere of time and place

6. to create comedy

7. to provide unity or coherence to the story (use of leitmotif)

8. to be used as source music (diegetic music)

9. when music plays against the action

10. to speed up slow scenes or slow down scenes that are too fast

11. to be used as a neutral background filler (wall to wall music

sorry. my computer broke down and i had about 3 doctor's appointments. i'm just catching up now after reinstalling a router.

i think you best answer to this is d. some film directors were very picky about roles and lighting and and which side of the face the camera should catch. they were also picky about sound and background noise and chatter and music and all sorts of what we would consider trivial things. a stage director has to have all this ironed out before the curtain goes up. if he doesn't he better do it soon. if he doesn't notice, critics soon will, and they are not a very nice bunch.

e: both have the power to ask for rewrites. theater directors are always yammering about act 2.

c is true. both can ask for any number of things during rehearsals. the reason i wouldn't pick c is because a film director can make changes anytime during shooting, including when he thinks they ought to be done shooting.

b i didn't know what blocking was and i can't find a good description. if you have one and think b is true, go for it.

a a film director quite frequency chooses the leading lady or man. he may not have the final word, but he chooses. sometimes a theater director has no choice. a is generally not true.