Chinese Film - Admission/Application Essay Example

The concept, role and significance of sound in cinematic analysis is highly debatable and even controversial with regard to the matter where scholars have aimed to define the boundaries of what in fact classifies as sound? The crux of this question lies in exploring whether sound only embodies what can be picked up by the auditory senses or does it also encompass what the same sense cannot gather. Therefore, in the contentious realm of cinematic sound analysts aim to comprehend the role of what is left unheard and what is communicated, thereby, suggesting that sound is a form of artistic representation in itself. For instance when silence triumphs in a cinematic work, the absence of sound entails a profound loss of meaning or the revival of meaning through the sheer scarcity of words. Thus, even in silence the film is able to correspond with the audience by simply remarking that the gravity of emotion remains so intense in a given sequence that the power of words does not hold the strength to capture it successfully. The representation of these ideas and notions on the role of sound in cinema suggests that it is not appropriate to categorize the concept in a restricted sphere, thus, as this discussion progresses by examining the function of sound in the film “Infernal Affairs”, the term ‘sound’ covers dialogue, noise and moments of silence in the work and how these elements come together to convey the thematic elements of the film in an effective and successful manner. The sound analysis of “Infernal Affairs” is fascinating because the film utilizes the individual elements of dialogue and music in a combinative fashion to generate greater impact. As noted by Buckland, the manner in which the film has been executed is distinguishable because it reflects the projection of a complex narrative and art of storytelling that essentially defies norms and preconceived judgments to challenge the audiences’ loyalties (161). The application of this critical aspect of the narrative structure to the concept of sound can be conducted by highlighting the relevant aspects of the plot. For example, in the presence of individualistic motives that lead to the death of Sam at the hands of Ming the attainment of success is not possible because the viewer can always question the purity of Ming’s intentions which of course is motivated by sheer selfishness (Buckland 161). This displacement of viewer loyalty represents an environment of confusion and perplexity which further strengthens the uncertainty of morals and ideals as they have been depicted in “Infernal Affairs”. Furthermore, the manner in which death has been taken as an occurrence in the plot is something which Buckland believes is not practiced in the process of normative filmmaking – death in “Infernal Affairs” does not mark the end nor does it grant the audience with answers (161). In fact, death in the film is what triggers and eventually guides the intensity of the narrative until it reaches its epitome. A particular scene in the film which matches the dubious and intense elements of the work through the function of sound is that of the confrontation between the characters of Ming and Yan which takes place in the setting of a rooftop. The intelligent use of sound in this scenario occurs in two separate instances in which case one is followed by the next. In the first part of the scene, sound has been granted with the function to warn the viewer about the proximity of a fatal event which in this case is Ming’s death at the hands of Yan (Buckland 161). In the next part, the viewer sees Yan as he is about to position his weapon to take shot at Ming – the use of sound at this point is calm and non-dramatic. Comparing the confrontational scene of the film to normative cinema implies that the makers of the work have deliberately utilized sound in this sequence to provide the audience with the thrill and rush of a last minute action. For instance, traditional scenes which project confrontation and prepare the audience for the death of a character incorporate striking sounds to enhance the level of excitement however; this sense of adventure is only short-lived. Nonetheless, the stark contrast and immediate sound change in this specific scene sparks uncertainty amongst the audience who were expecting the death of a character to occur almost immediately. Accordingly, the climax of the scene proceeds with Ming’s questioning of Yan’s character as a police officer, where the former declares his uncertainty regarding the latter’s status as a cop. This exchange establishes the concept of how professional responsibilities can come in conflict with personal ideals thereby, leaving a mark of doubt upon the identity of an individual. The essentiality of sound to the narrative and theme of “Infernal Affairs” is evident from the initiation of the film. For example, in a particular meeting between Yan and Ming the stark differences which are shared by the characters are embodied in their selection of audio equipment. The most important part of this exchange occurs when the characters lend ear to a popular song to which Yan comments regarding the ‘transparency’ of audio which is emanating from the musical device. In this scene the film employs sound and audio as a source of metaphorical representation to define the reality of Yan and Ming who are not who they claim to be yet the other person fails to recognize the one who sits across him (Buckland 157). As the viewer sees the characters engaged in conversation about their preferred sound system, another aspect which strikes the most is that of the likeness which underlines each of the characters. However, the transparency of sound in this scene represents the character’s inability to look beyond the surface and realize that deceit is apparent. As stated previously, normative cinematic works on a similar subject which aim to project a simpler storyline as compared to the complexity of “Infernal Affairs” rely on the utilization of noise and high powered audio to capture viewer attention, incite excitement and adventure and promote the depiction of action sequences in the film. However, in “Infernal Affairs” the subtlety of sound is employed to generate profound meanings and provide depth to sequences through the presentation of detailed and intricate nuances. One such example of intricacy in sound is associated with Yan’s use of Morse code as a means of safeguarding his identity and fulfilling his obligation. The significance of this aspect is rooted in the notion of how traditional methods of communication can be integrated in the contemporary era to promote the attainment of objectives. Moreover, the Morse code itself is a source which contributes towards the mystification of latent meanings in the film. Henceforth, the effectiveness of correspondence is enhanced through the Morse code because it promotes the element of surprise, caution and suspense in the film. Through this feature, the audience is also able to develop feelings of unknowingness as their senses become heightened, thus, the use of sound in this manner promotes intrigue because apparent meanings are also transformed into dormant conceptions. On the contrary, had Morse code been replaced in the film with dialogue it is likely that the intricacy of scenes would be lost. Through Yan’s preference for the Morse code, the audience is also able to identify with Yan’s role as compared to motivations and aspirations of Ming. Yan’s secrecy is prolonged in this case by integrating a different facet of sound and this is an objective which straightforward dialogues could not possibly achieve. Moreover, the expressive function of sound in “Infernal Affairs” can also be examined by identifying how subtle sound cues are utilized in scenes to develop the narrative and portray the feelings of characters. For example, in certain instances Yan’s thought process is highlighted by the means of his physical reactions which appear to be involuntary and a part of his subconscious. The slight sound of finger tapping in moments of pin drop silence projects how subtle sounds correspond with the thought process of characters where the absence of dialogues, vivid images and communication can be compensated for by what appear to be trivial sounds. The function of sound in “Infernal Affairs” draws several parallels with the story of the film because the makers of the work have incorporated subtlety of sound in a genre which otherwise exploits the integration of excessive noise to generate thrill and excitement at critical junctures. Therefore, the role of sound as a promoter of the film’s thematic elements encompasses the creation of Yan and Ming’s identities, the protection of Yan’s identity and expressing the inner most feelings and insecurities of characters in scenarios where they may be unable to do so through dialogue or discourse. Moreover, various dialogues in the film which have been placed in intense scenarios such as the confrontational scene between Yan and Ming also set to challenge the objectives of the character’s and reveal the true intentions behind their actions. Works Cited Buckland, Warren, ed. Puzzle films: complex storytelling in contemporary cinema. John Wiley & Sons, 2009. Zhuang, Wenqiang, Zhiwei Zeng, Zhaohui Mai, Weiqiang Liu, Andy Lau, and Anthony Wong. Infernal Affairs. Burbank, CA: Buena Vista Home Video, 2004. Read More