NOTE: In the previous unit we focused on the Silent Era of film history. In this upcoming unit, we will concentrate on the "Golden" Era of Hollywood film (the thirties and forties). So, today's lesson will be bridging these two eras by focusing on the development of sound and how music specifically can affect the meaning of a film. (Students should have come to class having read the Sound and Meaning in Film article and have completed the companion worksheet beforehand.) Since the film Singin' in the Rain comically illustrates the affect that the advent of sound had upon the movie industry, it is a good way to bridge these two units.

For today's Warm-up activity, show the ten-minute sequence from Singin' in the Rain (1952) in which Don and Lina awkwardly make their first "talkie." (The clip illustrates all the problems presented by the new microphone and ends in the movie theatre when an audience laughs hysterically over the histrionics of Lina's acting.)

Written on the board: Today we're leaving the silent era and making the trandition to sound film. According to this clip, what were some of the problems that the early use of sound in film presented to the movie industry? Name at least two. (Discuss student responses to the warm-up as a class.)

Hand out the lyrics to "Love for Sale" (by Cole Porter) or display them on an overhead.

Directions to Students: Today we're going to be discussing the way that music (what you hear) affects how you interpret or make sense of the image (what you see). But before we talk about music as it is used in film, we need to spend a little time talking about how to describe music itself so that we're all on the same page. To do this, we're going to listen to two very different versions of the exact same song.

Listen to Harry Connick Jr.'s version of "Love for Sale." When the song is finished, have students describe the song. Write the responses on the board---whenever students respond, build upon how that is one way of describing music... Prompt questions: What kind of song is it (classical, rock, rap)? Is it happy or sad? Is it fast or slow? What kind of instruments are being played? Is it loud or soft? What do you normally think or feel when you hear this kind of music? How do you feel when listening to it? What do you think the message of this song is? What is it trying to say?

Listen to Elvis Costello's version of "Love for Sale." Now, this is the exact same song, but there's something entirely different about it, too. Why is it different? Write down student responses and build upon them. Be sure to emphasize that the most important thing about music is THE WAY IT MAKES YOU FEEL and to talk about what elements of music (tempo, rhythm, volume, lyrics, tone, instrumentation, genre, time period, etc.) change the
way you feel.

(Just another thing to consider: what is the point behind artists re-working songs that have been "done before"? Because when a different artist performs it, they change the elements of music to change the interpretation of the song.)

Hand out the Quick-Reference Guide to the Three Ways Music Is Used in Film. This handout provides a brief overview of the concepts which will be covered in class on this day. It will give the students a jumping-off point for the concepts which are covered in class today. Review and clarify these concepts with your students.

Hand out the Film Music and Meaning Sheets. This handout will be used in conjunction with the main activity, which is as follows: Students will watch a series of clips, each of which demonstrates one of the three ways in which music can be used to create meaning in film (see reference guide). For each clip, students will write down what is happening visually in the clip (or narratively, I suppose) in the first column of the handout. In the second column, students will describe the music. In the third column, students will describe how the image and the music work together, how the meaning of the image changes when it's combined with the music. After viewing each clip, the teacher will call on a few students to share their responses (generally, I'll pick a row and just have everyone in that row respond, then any others who would like to comment). After hearing student responses, build upon the responses to illustrate the concepts of parallel, contrapuntal, and associative sound a bit more. The following are suggested clips and discussion tips:

Film Clip #1: Show the final chase scene in Ferris Bueller's Day Off (1986). Discussion tips: This is an example of parallel sound. Build upon the responses to bring out some of the following ideas related to parallel sound: music helps us to understand what is going on, used to enhance the action or the humor, sometimes it can be called "letting the soundtrack hold our hand through the whole movie" by telling us what to think and feel.

Film Clip #2: the opening credits of Fly Away Home (1996) in which peaceful music is playing during a terrible car accident. Discussion tips: This is an example of contrapuntal sound. Build upon to bring out some of the following ideas related to contrapuntal sound: what are we supposed to think or feel this time? What is the film trying to say when the music doesn't quite match the visual?

Film Clip #3: the closing sequence of Dr. Strangelove (1964) in which images of nuclear bombs exploding are accompanied by a nostalgic rendition of the World War II classic "We'll Meet Again." You might want to preface this clip by giving a little background about this film (see the film directory) and its anti-nuclear war themes. Discussion tips: What would you normally think of if you saw a nuclear bomb (i.e. would you think it was beautiful and pleasant or destructive and gruesome)? What would you normally think of if you listened to this music? (You might want to give a little background into the history of the song as an anthem of World War II.) What do you think the filmmakers were trying to say when they juxtaposed (put together) these images with this music? (One possible interpretation of many possibilities: the American government and the American public have a naive outlook towards the terrible destructive power of the hydrogen bomb. Their anachronistic World War II perception of war is entirely inappropriate in respect to the apocalyptic powers of nuclear warfare.)

Film Clip #4: the brushing teeth scene in Pennies from Heaven (1984) in which Steve Martin, looking smitten with love, lip syncs the words of a tender love song while his wife brushes her teeth in the most unattractive way possible–I actually took this clip from the first volume of American Cinema - 100 Years of Filmmaking (1995). Discussion tips: This is an example of contrapuntal sound. Build upon student interpretations.

Film Clip #5: the H.I. on the Run sequence from Raising Arizona (1987) in which H.I. steals some diapers from a convenience store and runs from the law. Discussion tips: This is an example of associative sound. What type of people do you associate this music with? What does this type of music make you think of? Build upon how this music is traditionally associated with hicks and hayseeds, which this movie is about.

Film Clip #6: the opening sequence of Chicken Run in which the chickens are planning escape from the coop to World War II brass music. Discussion tips: Build upon student responses to bring out that this film features lots of rousing marches played on strong brass instruments. This type of music is a shorthand way of accessing the audience's previous experiences with war movies such as The Great Escape that use this type of music, suggesting that the chickens are prisoners of war engaged in a righteous battle of good vs. evil. (Parodies often rely on strong associative music by closely mimicking or replicating the music used in a particarly film, genre, time period, etc.)

Additional film clips (if needed): shower scene from Psycho (parallel sound), Hunchback of Notre Dame (parallel sound), play the Destroying the Death Star sequence from Star Wars with the sound turned down and played with "The Blue Danube" (contrapuntal sound). Maybe Pink Floyd's Dark Side of the Moon with The Wizard of Oz or Enya with the opening sequence of Jaws.

Either engage students in a class discussion about what was learned in that day's lesson or have them answer one or more of the following questions: Review--what are the three different ways that music can create meaning in film? Can you think of any examples of films which use on of these three types of music?

None.

This lesson needs some kind of closure. Are there any ideas on a nice way to wrap this lesson up better? Maybe a suggestion for a take-home assignment?