Asking the right questions is the key to writing a proper thesis, not coming to right conclusions.
Questions to ask while conducting the research are related to phases of logical reasoning, the construction of an argument.
” The rest of the paper then must include and focus on the following: Spielberg’s camera shots vs.
traditional camera shots, impact and potential implications for audiences, other directors and the film industry, the success of the film, and possibly suggestions for new camera directions that would build on that found in the film. ” and “Who is or will be impacted by these facts and conclusions? The answers are, for this example, Scorsese and Coppola would have handled it with third-person voyeuristic detachment and lofty sky shots, removing the audience instead of bringing them into the action.
The film’s fame comes mainly from these segments, especially the initial half hour depicting the Normandy landing, but also the lengthy final confrontation with German troops in a small French town.
Spielberg’s close-ups of the realities and consequences of war – bodily and emotionally – on those in the middle of it turn these sequences into harrowing, almost unbearable experiences.
Saving Private Ryan is as notable for the parts that are underscored as the ones that are, and they explain the score’s relative brevity.
The film set a new standard for realism in war scenes, and the battle sequences have a raw, documentary realism, achieved by an intense sound design and jagged, hand-held and almost intrusive camera work.
«Omaha Beach» introduces the score’s most prominent theme – a long-lined, achingly beautiful melody performed by low brass and strings, and in this track, which plays after the initial battle sequence, and also elsewhere, it functions like a requiem for the horrors we have just witnessed.
There are other stand-alone, subordinate themes and motifs, but Williams often lets the harmonies themselves carry the emotional impact, sometimes only as duets in woodwinds or brass – especially trumpets – and sometimes as resonant chords in separate instrument groups or combinations of them.