本文是讲声音的划分，兰斯和威拉德最终遇到了罗奇。罗奇是一名狙击手，据说他的听觉几乎可以找到回声。默奇考虑在一段特定的时间内去掉声音，这样观众就能从狙击手罗奇的视角听到这个世界，就像听到树木的声音一样(Jarrett, 2000)。默奇在编码声音时将声音划分为光谱，左边是紫色，右边是红色。本篇休斯顿论文代写文章由美国论文通AssignmentPass辅导网整理，供大家参考阅读。
Lance and Willard end up coming across Roach, a sniper who is known to be having the ability for almost locating the echo with his hearing. Murch considers taking out the sound over a specific duration of time so the audience are pulled to hear the world from the perspective of Roach, the sniper, as the voices of the trees can be heard (Jarrett, 2000). Murch has divided sound as the spectrum of light while encoding sound, on the left side that is violet and embodying sound on the right side that is red.
The clearest instance for encoding of sound can be considered as speech. The clearest instance for the embodiment of sound can be considered as music. When taking this into consideration, all of the languages can be considered as a basic code, with its specific combination of rules. However, music has major differences as it is the direct experience of sound, without the intervention of any code with the audience (Seymour, 2011). A lot can be stated about the consideration of sound in this scene, specifically, the soundtrack music utilized for defining different scenes and characters.
There are a number of factors synthesizing the soundtrack. However, these have not been utilized similarly in all of the scenes. Instead, the music soundtrack involves variation of music for a number of different scenes. If this is listened to closely, one theme can be heard during the expression of battling, while the other theme can be heard when the crew of the boat is at the plantation of French population (Welsh and Lev, 2007). As a significant example, the music for Kurtz is softer maintaining a tone that is Asian, with gongs and flutes, in opposition to the more industrial and dissonant music heard when the crew of boat is on the river.
By its basic design, the entire movie of Apocalypse Now is extremely realistic. The filming has been done on location in which there is war just across the corner. The production of this legendary story is full of stories of hardship and madness (Welsh, 2007). There is a wider sense of realism within the production that has been made real with tricks of cinematography and the techniques of post- production end up becoming more or less of a necessity. In terms of the underlying theme, both the scenes can be seen posing the doubt of surrealistic effect and reality, not as weird things are shown, but by not bringing the explicit clarity of what is seen and how it can be related to the other in reality (Whaley, 2007). Due to the realism inherent in this film by the appropriate use of music, sounds and visual effects, Apocalypse Now has presented the highest scope of surrealism related to the war in this particular movie. In addition to this, the cinematographic techniques can be seen to succeed in the creation of surreal dream from absolutely nothing but the locations, situations and sounds of the real world. The two scenes discussed above have music with maximum effectiveness to set the tone for psychological darkness and surrealism related to war.
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