Whiplash film written and directed by Daniel Chazelle focus on the relationship between a music instructor and his student and what one should do to become a great musical artist. The tension, script, suspense, and questionable decisions from the characters make it a standing film. The film starts as the main character, Andrew Neimann, drumming his snare drum which is a meditative start of the film. The film ends in a similar way with the victory of the snare drum where jazz sound rules throughout the film. Andrew, a student at Shaffer Conservatory of Music, the best music school in the US, works hard to become more than just a school drummer. Andrew hard work starts when Terence Fletcher the band instructor selects him for a hierarchy in the studio band (Fudji, 2016). Film abuse develops when there is prominent talking in the film, and we don’t know whether we should be horrified of disgusted about it but at the end, we realize it was essential for the students to know their full potential which brings out the theme of persistence in music practice.
A love interest develops between Andrew and Nicole who he meets at a cinema theatre and decides to ask her for a date. The dates are at many times awkward and later in the film Andrew break the relationship with Nicole to become “great in music.” The director brings much attention to the relationship between Terence and Andrew. This brings the level of insane Andrew has and is ready to break up with the ones he loves to achieve prominence of his goals. The tempo of the film is intriguing and diverse with the slow pace, and other instances are thrilling in execution. The script is typically natural sounding and brushes with many aggressive phrases from Terence. Andrew character development starts in a riveting way as a shy college kid, but due to torments from Terence he manages to stand for himself (Fudji, 2016) . The abusive motivation makes Andrew become the best drummer. The audience questions the actions of the teacher and the student, but at the end, we are satisfied to see Terence smile for once. The film rises above storytelling and entertainment and makes us question ambition, education, and our place in this world.
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Plato explains that falling in love is not centered on lust or fulfilling the bodily needs but love that bring a person close to divine. Plato explain that love brings together the best in both people. In our world today, the platonic relationship is code for “we are friends” without the benefits. Platonic love focuses on the affectionate friendship between two heterosexual people which can be a misunderstanding on the nature of ideal love which from its origin emphasized on passionate love based on restraint of sex desires (Halwani, 2018) . Aristotle explains falling in love as a relationship of common virtues rather than material goods and superficial lures such as wealthy. He also views pleasures as nurturing the body and not the soul. Additionally, he describes the relationship in utilizing others to gain power, status, and money as ego and not based on soul. Aristotle recommends relationship based on shared virtues (Halwani, 2018) .
The two poems express the hidden pain than a personal experience due to loss of loved ones, trauma, or loss of love from dear ones. Petrarch illustrates the sorrow he is going through after loving someone who can’t love him back. Both poems illustrate the inability to move on and let it go. Petrarch even though he knows the relationship is not working out he remains stuck in. Dickinson illustrate the idea of being inflexible and rigid in the second stanza. Both poems create a sequenced rhythm throughout. Petrarch create a full rhythm in words such as likewise, wise, device, life, and grief. Dickinson uses slant rhythm such as come, tombs, and full rhythm in the bore, before, stone and grown. Metaphors and similes have been used in both poems. Dickinson uses Quartz in comparison to stone reinforcing hardness idea. Petrarch uses prison to illustrate bondage. The two poems have a difference in the main theme communicated, Petrarch gives the main theme of inability to lose loved ones while Dickinson gives a general view of formal pain. The structure of the two poems is different regarding stanzas arrangement, Dickinson uses three stanzas and many dashes to portray uncertainty while Petrarch is consistent with his ideas and give a rhythmic flow to the end.
Maple leaf rag applies AA BB A CC DD while Violin Romance uses a five-part rondo ABACA with a theme introduced by the soloist followed by the entire orchestra. Maple leaf rag has an athletic starting point and offbeat melodies Violin Romance song provides a recurring theme with highly decorated melodies (Mc Cracken, 2014) . Decades back Harry Potter films hit the new outlook of modern films with John Williams, the legendary composer. The music flowed between childish narratives and the adulthood realities. Williams laid the background for key themes including Hedwig’s theme in Franchise and came up with musical language unique to the universe. The opening formula with a solo celesta, Williams use a combination of synthesized instruments to transform ethereal sound used in the past to unreal dimension of surrealism and magic (Spenser, 2016). In Tchaikovsky’s Ballet Nutcracker film, the celesta has a dreamlike component to Harry Potter which evoke the audience on the direction to go while acknowledging the dangers that may be present in the wings.
In the third film, everything changed at a sudden rate as Alfonso Cuaron stepped in to direct Prisoner of Azkaban and established a real cinematic outlook on the franchise. He established narrative leaps and composed a movie respectful of the source material and also a film with sonic language and visuals. The fourth film, composed by Patrick Doyle calls for loud musical sensibilities, and combine narrative to replace the complexity of the third film. Hooper as the director of Half-Blood Prince use choir and drum orchestration and a somber tone. He deploys drums and strings to a greater extent which create tension and destabilization as Voldemort create a way towards taking control. In the twentieth century, the Harry Potter films are accompanied by a significant amount of composition turns and jazz more epic than what we heard before (Spenser, 2016). The music is balanced by electronically persuasive arguments and big brass which uniquely illustrate earlier Howard’s sound.
Harry Potter represents a standard classic hero and the character everyone recognizes he will succeed. Through humble upbringing, Harry Potter act as an orphan which motivates him to fix the great evil that wounded him deeply. In the course of the healing process, Harry Potter finds healing himself. Additionally, Harry Potter act as an average person going through extraordinary circumstances which make him become a representative of the land of heroic deeds. To make Harry Potter withstanding classical hero, human Rowling set Harry back and interrupt his heroism through death of his parents, death of Sirius Black, and classmates disliking him (Thury & Devinney, 2016) .
Everybody cheered in loud voice in theatre when Neville cut the head of scary snake and when Harry finally killed Voldemort. Harry Potter greatness is overshadowed by the audience when he finally kills Voldemort. Overshadowing greatness is a clear illustration of a classical hero to overcome the problems that occur in the future. Similarly, Harry Potter has a strong attribute despite the common abilities everyone has, the same way Harry kills snake in Deathly Hallows. The attribute of Harry Potter to use magic power assist him to overcome Voldemort. Consequently, emotional quest is illustrated by Harry Potter when he always fought for his love (Thury & Devinney, 2016) .
Reference
Fudji, M. Y. (2016). An Analysis of Speech Act as Found in the Script of Whiplash Movie (Doctoral dissertation, Universitas Andalas).
Halwani, R. (2018). Philosophy of love, sex, and marriage: an introduction . Routledge.
McCracken, Gregory. "Pedagogical Benefits of arranged music for solo tuba." (2014).
Spencer, R. A. (2016). Harry Potter and the Classical World: Greek and Roman Allusions in JK Rowling’s Modern Epic . McFarland.
Thury, E. M., & Devinney, M. K. (2016). Introduction to mythology: contemporary approaches to classical and world myths . Oxford University Press.
