These scenes convey the viewers; vision has to be shared to find that person with similar vision to fulfill the dream. As Bordwell, Thompson, and Smith write, the filmmaker use rhythm in sound and image often to coordinate the visible movement and sound closely (282). When Carl and Ellie get married, montages of the scene only 5 to 10 second in length are strung together to show their life together in fast-forward. The music is bright and cheerful with a lively tempo when they get married, but in the end, when Ellie dies, the music slows down significantly, even going down an octave from the usual. The music holds this scene together because it tells us nothing new is happening and we are still watching the couple grow up together. Without the music, the viewer would take a few seconds to think about and analyze the new scene and what it was about.
Whereas music helps to interpret the visual movement, building the romantic relationship effectively and understandable to the viewers. The mise-en-scene takes place when the Ellie have miscarriage and music get slowed down. The director uses backlighting in this scene to project the picture in the background and connect with Ellie miscarriage situation. Direction of light shows the picture of a baby in the womb that emphasizes the situation of Ellie miscarriage, which informs the viewers they are not going to have a baby. These situations convey the audience; in life, there will be a difficult situation and sad moment to go through.
As Bordwell, Thompson, and Smith write, “the sound from the previous scene tells the viewers in the image is already presenting the next scene (298). In Up, the sound begins to slow down in Ellie miscarriage scene; sound informs the viewer in the image that they are disappointed and sad for miscarriage. The music also informs the audience that they will spend sad and emotional situation until their new hope grows. The filmmaker uses adventure books to remind the Ellie, their dream, place their house beside the paradise fall. In the scene, when Carl shows adventure book to Ellie, the sound goes up, and the image shift from sad to excite moment.
The sound helps to create visual moment excite and hopeful, shifting the tragedy of miscarriage to a happy moment. Carl understands how Ellie quite moment and handle her through a difficult situation and bring her in excitement. This scene shows their love for each other and how strong relationship they have. This sound design helps to understand the visual image of emotional, sad and excite moment. These scenes convey the audience that difficult situation can make use emotional and sad, but also bring hope and remind us of the dream that we have to fulfill. Love also helps each other to maintain the situation and empower one another to stay focused on dreams. As Bordwell, Thompson, and Smith write, the temporal editing control the time of the action presented in repeating elements and contribute the manipulation of story time (226).
In Up, Ellie makes the Carl tie continuously. This scene builds temporal editing when Ellie make Carl ties, each time she makes Carl ties the time is passing continuously. The duration of this scene is temporary and shifts the visual movement of young married life to elderly portion. This scene conveys the viewer even the time went by, the relationship between husband and wife will remain romantic. In Up, the director uses the technique of mise-en-scene in Ellie funeral scene. In this scene, sad music and color scheme and church is dark and Carl is sad and grieving. This scene interprets the feeling of isolation moment from the wife. As Bordwell, Thompson, and Smith write, filmmakers use genre iconography from a symbolic image to carry meaning from scene to scene (330).
The director uses casket, balloons, and darkness in Ellie funeral to shows all the romantic relationship they had spent has vanished and life will be full of darkness and isolate. Furthermore, the director use iconography in-house takes off a scene. In this scene, we see the happy moment, bright, vivid colors and hear the exciting music. Balloons, blue sky, wallpaper of the house reminds us the Carl and Ellie romantic relationship and adventures dream. The scene informs the viewers that Carl is free and excites to have gain adventures experience. It makes us feel that he is now going to fulfill his promise that he gave to Ellie, to park their house beside the paradise fall.
As Bordwell, Thomson, and Smith write, the fidelity refers tan o the extent which the sound is faithful to the source as we conceive it (284). In Up, the fidelity is used when the house with balloons is caught in a huge thunderstorm; ta he music is loud, frightening and fast, with a panic-inducing feel to it. The film shows the thunderstorm with the fast wind, and we hear the thundering and fast windstorm noise, that sound is faithful to its source; the sound maintains fidelity. In a take-off a scene, the fidelity is used when Carl takes off his house with many balloons.
Each sound effect in the scene shows us what happens in the visual and sound is maintaining its fidelity. As Bordwell, Thomson, and Smith write, rhythmic audio stimuli can provoke visual attention (281). In the scene, when the Carl house trap in thundering and windstorm, the rapid change of tempos, key, and rhythm add to feel that everything is happening fast and draw us to the attention to the visual. The director uses Sound design in the film to visualize an image, and it helps to understand the situation in particular. In up, Carl runs as fast as he can through the jungle towing Russell along and he is eager to get rid of the two disruptive creatures. In this scene, the music is energetic and fast along the image also moving fast to catch up the fast music.
These scenes interpret Carl is hurried and did not want to get distractive by two creatures to reach his destination, Paradise fall. The continuity editing also takes place in this scene, when they are running away from two creatures, Kevin and Dug. The music and image are flowing in rhythm when they are running away from the two creatures.
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