Trowbridge College

Level 3 Media: Soundtrack Production for Moving Image

By Harry Burbidge

Chosen 2 examples:
The Desolation of Smaug Bilbo encounters Smaug

Glossary of terms:
Acousmatic sound:
Sound someone hears, but cannot see where it originates.
Acousmetre:
This is a type of sound, given to an unknown character/object. The
audience does not know where it lies, but can imagine for themselves where it might be.
The sound gives anonymous personae to the character. The
audiences therefore, cannot depict any possible weaknesses etc.
from the character.
Added value:
This is where sound helps to enrich an image.
Audiovisual contract:
This is when audiences agree to forget that sound is coming from
speakers and the picture. They instead consider the sound to
actually exist in the films world/entity.
Chronography:
Music/sound effects, which have a matching mood to the mood of
the visual scene/action.
External logic:
Non-diegetic sound effects, which have a discontinuity tone,
implying interventions. The sounds may change in tempo or break.
Internal logic:

The sound/music naturally flows into the scene itself. The images
connect with the sounds. Thusly the sound/music flexibly and
naturally grows and varies according to the happening in the scene.
The sound acts on visual cues also. For example the music may die
or reappear, dependent on a certain line, or characters facial
expression.
Rendering:
Using sounds to convey feelings/effects associated the scenario on
screen.
For example, rendering sounds can be used to convey a bears size.
Such as large Foley made footsteps, which were synched with the
bears movement. This implied the bear to be of a massive size.
(For example, when Smaug awakens, we hear large amounts of
coins dropping. These convey the stupendous size of Smaug.
Additionally, the coin dropping sound is slowed down, conveying the
dragon has slept for a long time.).
Pitch:
The number of sound vibrations or perceived highness and
lowness.
Low-pitched sounds such as thumps can spark audiences minds
into thinking of a hollow object (something with a hole, space or
cavity within).
High-pitched sounds (e.g. finger nails scratching a blackboard) can
imply a smoother or harder surface and denser objects.
Timbre:
Components of sound, which give a particular color or tone. They
give a texture and feel to the sound.
Sometimes, clich based elements may be used. For example in a
seductive scene, saxophone tones maybe used.
In the hobbit, Chinese based music is used, which relates to the
scene, as China is often associated with dragons.
Dialogue:

Speech spoken by the character. Sometimes it can be recorded

separately and synched with a clip.
Ambience:
Sounds applied to a scene, to emphasize the environment. For
example a door creak will be applied to the inside of a house scene,
to make the setting more realistic and natural.
Presence:
Background noise from the shot, to make the sequence more
realistic and consistent.
Natural sounds:
Plain sounds, which are often mixed with other sound effects, to
make it more appealing for audiences.
Characteristic sounds:
Sound made, accordingly to how the audience should perceive it.
This is when a natural sound is manipulated to create a desired
effect for the audience.
Harmonics:
Sound waves grown by a vibrating object.
Envelope sound:
This determines how quickly the sound shall appear in order to
create a dramatic effect. It is split into 3 stages, which are attack,
sustain and decay.
The first one, the attack is the starting point of the sound.
Sustain meanwhile determines the length of this sound.
The decay is the end of the song.
Foley sounds:
Sounds physically created by different objects and self-made
movements. People responsible for making the sound are called
Foley artists. They may record their feet running against a floor for a
chase scene for punch a water melon to create a punch like sound

effect.
Pitch:
The frequency of the sound, which varies, from low (e.g. thunder),
mid-range to high.

Article 1:
The Hobbit the Desolation of
Smaug, Directed by Peter Jackson
and released in Cinemas on the
13th December 2013.
When Bilbo comes face to face with Smaug, it
is not only the engaging motion capture and
acting, which enforces the scene.
All elements of sound and music play a vital
role, in creating fidelity and a truly dramatic
reveal for the antagonist.
My source will come from the D.V.D I own.
Unfortunately, I could not find a full clip on
YouTube

USA 2013
Certificate 12
161 minutes approx.
Director Peter Jackson
Cast
Martin Freeman as Bilbo
Baggins
Benedict Cumberbatch as
Smaug

In this scene, we find Bilbo Baggins (played

by Martin Freeman) entering the mountain of

UK release date 13th

December 2013
Distributor Warner Bros. UK
4

Erebor, trying to look for the Arkenstone, but ends up coming

across Smaug, the dragon.
When Bilbo enters the kingdom of Erebor, the first sounds we hear
are diegetic.
These are sounds, which exist in the scene (e.g. footsteps and
dialogue).
The footsteps use an audiovisual contract to convince audiences the
footsteps exist in the scene. This is achieved by using mild echo
effects to convey the large emptiness of the kingdom.
There are also sounds of Bilbos feet treading over small brick/stone
fragments. This conveys possible rubble; emphasizing the kingdom
to be very old and possibly destroyed long ago.
This can unsettle audiences of the location, fearing what may be
inside.
As we can see sound designers, whom take recorded the diegetic
sounds have manipulated them to achieve a particular effect.
When Bilbo slowly walks into Erebors entrance, a low toned, quick
paced rumbling piece of music occurs. The quick pace and low tone
help create a mysterious mood to the scene. A violin or Cello may
have been used.
This scene used Timbre, as these instruments can sometimes be
associated with morbid elements (e.g. gruesomeness) and
corresponds well to the shot with the dark grey kingdom of Erebor.
A harp instrument is used too. Its slow pace and gentle tone, convey
a tranquil mood. Harps are mainly associated with angels and love.
This conveys sadness, at how the beautiful kingdom is now grey and
desolate, causing audiences to feel rather saddened by its
deterioration.
The presence track is a distinct wailing sound, which is often related
with empty/barren settings, legitimately suiting Erebor. It uses a
low frequency to convey how untouched it has been for years,
making audiences more on edge, due to things being too quiet.
After Bilbo exclaims in awe, of Erebor, a high pitched, but gentle
slow paced tone of music occurs. This conveys a dreaming mood,
implying to the audience, Bilbo has never seen such a beautiful
kingdom before.
A violin was likely used, as it conveys different themes, including
beauty, causing audiences to feel glorified by the beauty too.
The music then returns to its low rumbling, tense tone.

The dialogue (when Bilbo talks to himself) has mild echo effects
establishing Bilbo to be fully alone.
Audiences will feel pitiful and fearful for him.
When Bilbo says Hello, the violin turns to a brief high pitch and
rather quick pace, indicating slight tension.
This renders well, as the audience will suddenly think that Smaug
may come out of nowhere.
However, when the music slowly fades to a quieter piece, the
audience will believe nothing to be there, putting them of guard for
Smaugs later appearance.
When Bilbo knocks on the wall, the knocking sounds have a highpitched tone, indicating the walls high density and fine quality,
implying a rich tone to Erebor.
Next the knocks echo occurs, implicating it to go around the walls.
This conveys the vast size and emptiness of Erebor. Additionally, it
has a loud crackling tone, to unsettle audiences slightly.
This is known as an ambience track, as the knocking sounds
originate from the location.
When Bilbo hides away from the sound, a high pitched quick paced
violin like tune occurs, creating a tense mood, foreboding Smaugs
possible entrance.
The tune suddenly fades out to a slow paced mellow tone,
reassuring audiences of peace and there is nothing in the kingdom
after all.
When Bilbo nervously continues walking through the kingdom, the
music rises to a slightly quick paced and slowly rising tone,
indicating mild tension. This renders effectively with Bilbo still being
tense with worry. This helps to increase audiences edged feeling,
fearing Smaug may suddenly appear.
When Bilbo turns to face
something, we cannot see, a
mildly sharp and low toned
violin piece occurs, indicating
growing tension and
foreboding Bilbo has possibly
seen Smaug.
This renders effectively, as we
see Bilbo only and nothing else, increasing mystery for the audience
in wanting to know what Bilbo has seen.

When Bilbo sees the vast gold in the kingdom, a choir piece occurs,
playing at a slow pace and high pitch.
The rendering effectively worked, as the high-pitched choir helped
metaphorically emphasize the high amount of gold.
Timbre too, was used. A choir is often associated with wealth and
amazing sights, making it a good choice for the shot.
Its richness helps to remind audiences of the vast and wealthy
setting and enhance their amazement. Additionally it conveys a
mental perception to Bilbos reaction.
Thusly a rich and beautiful mood is created.
A low deep rumbling tone occurs, metaphorically conveying the
immense quantity of gold.
This changes to a low toned but high-pitched violin piece, conveying
a glorious mood. With shots of Bilbos amazed reaction and the
gold, added value, emphasizes the settings rich quality.
When Bilbo walks across the gold,
diegetic sounds of the footsteps are
used, as well as the gold scrunching
against each other and the gold
sliding away.
This helps audiences establish the
high amount of gold.

The interlogic from Bilbo seeing the gold, to walking across it

worked effectively. The choir section smoothly fades to a low toned
and slow paced section, which is similar, due to its peaceful mood.
Therefore the change in music is not too sudden, but can indicate a
mood change.
This section gently increases to a low toned high-pitched piece. This
renders effectively, as the music changes from glorious to
dangerous, easily foreboding Bilbo may encounter Smaug soon.
It changes the audiences amazed response of gold, to being
cautious. The tone gives a concealing tone, as though Smaug could
be under the gold heaps.
According to a behind the scenes video

(link here: https://youtu.be/tRAbSX1ySe) the director Peter Jackson

wanted to give an Eastern quality sound, due to European culture
depicting a dragon protecting a castle/cavern with treasure/gold.
Gamelan instruments, traditional around Indonesia, in Europe, were
used.
A xylophone was used (this is a presumption on instruments used,
from what I saw in the video).
The beating of the xylophone had a quick paced echo effect with the
echo sounds fading out very slowly. This conveyed a mysterious and
unsettling mood to the setting. This provided external logic, as these
new intervening sounds helped audiences feel mystified by the
unknowable presence (I.e. Smaug).
Gongs may have been used too. Their large diameter and empty
cavity allow for long lasting echoes.
The sound had a slow paced, but low and deep tone. The
chronography was good, as the gongs metaphorically emphasized
the largeness to the mounds of gold. The deep tone helps unsettle
audiences into thinking something may arise from the gold, as the
gongs deep sound visually depicts the depth of gold.
Another instrument was used (unfortunately cannot identify). It had
a sharp piercing eerie sound, indicating a deadly presence and
putting audiences on edge, as though the danger was imminent.
The Gongs occur again, but at a louder pitch and deep tone.
This renders the large emptiness of Erebor and Smaugs possible
large size, as Gongs are typically large and hollow.
The Xylophone also plays, but with an echo effect, to enhance the
settings emptiness, unsettling audiences more.
These instruments give the audience an edgy reaction, suspecting
something bad may happen. The instruments are different to the
regular pieces playing, giving an unknown quality and raising
suspicion on what may happen.
When Bilbo looks around, for the arkenstone, the camera slowly
pans to a wide shot.
At the same time, the music raises to a high-pitched and quick
paced tone, creating a challenging mood.
Thusly audiences may have a pitiful response toward Bilbo, now
having a mental and visual understanding of how difficult it would
be for themselves to have to find the Arkenstone.

The music slowly fades out, indicating a break from the suspense,
reassuring audiences nothing bad may happen.
When Smaugs eye is revealed, a slow paced, but deep music tone
occurs.
This conveys a negative mood and the deep tone can add value to
the shot of Smaugs massive eye, metaphorically depicting Smaugs
large size in general.
This fidelity helps unsettle audiences, in response to seeing Smaugs
large size and hearing the low rumbling piece, thus feeling
intimidated by him. It
may also give audiences
a mental perception of
Bilbos reaction to
Smaug.
When Bilbo decides to
walk away, the music
transitions to a quickly
rising high pitch,
creating a very tense
mood, making us wonder
if Bilbo will be able to escape Smaug.
The piece connotates a mental perception to Bilbos quickly racing
and tense set of mind, as he tries escaping, which audiences
hopefully feel too.
However, when Bilbo sees the tail on the other side, the music rises
to a higher pitch and then returns to its deep and slow tone. This
conveys a perilous mood and that Bilbo may not escape from
Smaug.
The piece also connotes a mental visualization of distraught, at
having seen no chance of escape.
Diegetic sounds of Smaugs tail moving through the gold use a
piercing tone, indicating large numbers of coins rubbing against
each other, as they slide down. Ultimately conveying Smaugs
massive size.
The sound has a slightly undermining tone, making audiences more
unsettled and fearful of Smaug.
When Smaugs nostrils snort, a high frequency attack is used,
making the sound more sudden, thusly creating a jump scare. A
sound designer, whom selected and mixed different animal noises
well, possibly created the sound.

The heavy toned and realistic qualities of the sound make audiences
feel like Smaug is an actual living creature, engaging the audiences
into believing how much of a real threat Smaug poses.
The music rises to a higher pitch and eventual fast pace, creating
added value in enhancing the Smaugs superior size, in comparison
to the helpless Bilbo.
This conveys danger growing closer, gradually increasing the
audiences unsettlement and tension from how Bilbo will be able to
sneak away.
Shortly after, the music
quickly cuts allowing for a
brief break in tension.
This helps the audience to
calm from their tense
response and be led into
thinking, danger may not
occur after all.
When Smaug slides down the gold, the music sharpens in tone and
rises up and down. This creates an uncertain tone of doubt, on
whether Smaug will wake up or not, putting audiences on edge.
The music turns to a sharp high pitch, which at times, fades to a low
toned section and then back to a high pitch, indicating the tension
growing more and increasing audiences uncertainty of what may
happen.
When Smaugs eye opens and Bilbo ducks down the music deepens
in tone, with a slow pace, bringing back the tension and increasing
audiences suspense once more.
It can unsettle audiences, creating a shed of belief that Smaug will
see Bilbo. But when the music fades, it suspends audiences belief
that Bilbo may have a chance of surviving.
When Bilbo takes out the ring and Smaugs eye continues scouting,
the music raises higher in pitch and quicker in pace.
This tone has a suspenseful mood, making audience wonder what
will happen. It connotates Smaug being very close to getting up
from the gold and that Bilbo has little time to put the ring on.
Audiences will have a driving fear for Bilbo to hide.
When Smaug begins to move his head out from the gold, the music
turns to a quicker and high-pitched pace conveying more tension
and the peril Bilbo may face.
This holds audiences in anticipation, wanting to see the glorious
appearance of Smaug, as well as wanting Bilbo to quickly put the
ring on.

10

The music has a revealing and compelling tone, emphasizing

Smaugs dramatic reveal.
When Smaug slowly stands up from the gold, the music raises to a
very high pitch and quicker pace. The heighted pitch adds value in
enhancing Smaugs size and slow dramatic appearance. It can
further unsettle audiences unsettlement by his immense and scary
appearance.
When we fully see Smaug, a gong drum occurs, relating to a
dragons European culture, providing a clich sound.
It helps enhance audiences amazed response toward Smaug and
connotes his magnificent stature and size.
When Smaug slowly looks around, the music transitions to a deep
toned and slow paced
piece, creating a conclusive
mood, letting the audience
take in Smaugs ultimate
reveal. The music also
enhances Smaugs
magnificent appearance
and size.
It also conveys the high
amount of danger he may
possess, unsettling
audiences more.
The diegetic sounds are rendered too. When Smaug awakens, the
coin drop sounds, have a loud flowing tone, enhancing Smaugs
immense size.
The sounds slow pace conveys Smaugs slow standing up and thusly
the possibility he has slept in the gold for a very long time.
When Bilbo slowly stands up, staring straight at Smaug, the music
slowly fades out, to allow for all the tension to be broke and let
audiences ponder in what may happen next.

Article 2:

11

The Dark Knight: Directed by

Christopher Nolan
And released in Cinemas July
24th 2008 (United Kingdom)
As well as the incredible
acting. The music and even
silence helped to make this
engaging for audiences to
listen and react to.
USA 2008
This scene uses a slow pace, allowing the
audience to take in what is being said and to
understand the significance of what the Joker is
trying to teach Batman.

Certificate PG-13
152 minutes
(approximately)

When the Commissioner is interrogating the Joker,

Director: Christopher
an ambient track is included. It uses an
Nolan
electric/radiator hum sound.
The sound has a low-pitched wailing like tone,
Cast:
which can be associated with barren locations.
The hum sound enforces a wide-open
Christian Bale as Bruce
interrogating room, conveying emptiness to the
Wayne/Batman
scene.
It creates a hopeless mood, corresponding with
Heath Ledger as the
the Joker also lowering the Commissioners hope.
Joker
This effect is achieved by a low frequency, helping
give warmness to the sound and ultimately a
Gary Oldman as
calm atmosphere.
Commissioner Gordon
This helps the audience to be at ease and
therefore pay good attention to what the joker is saying. It also
makes them feel metaphorically empty inside too, seeing the Jokers
point may be true.
The Jokers dialogue originally uses between a low and mid-range
frequency.
This has a reasonable calm, but energetic tone, to indicate the Joker
is patronizing Commissioner Gordon, but also to maintain the quiet
atmosphere.

12

Commissioner Gordons
dialogue mostly uses a low
frequency, which is
legitimate. Being a member
of the police, he would have
to sound calm and in control.
His official, but calm tone can
make audiences feel
comforted that he may be
able to get through to the
joker.
When the Joker continues speaking, a high frequency is used. This
made the dialogue seem more present and life like, conveying a
sudden disruption to the quiet from earlier. It also makes the
audience feel as though the Joker is in control.
When Commissioner Gordon uses the keys to unlock the handcuffs,
a high frequency is used. This helps to obviously display its
significance, as the scene does not show this with a cut in.
It also creates a suspicious mood, as audiences will suddenly
wonder why the Joker is being let loose from his handcuffs.
The diegetic sounds (I.e. dialogue and keys rattling) use an echo
effect, to create an audiovisual contract, making it seem like the
characters are genuinely speaking in the room.
When Commissioner Gordon unlocks the door, a buzz sound occurs.
It uses a high frequency, and another technique called Envelope of
Sound. This describes a sounds arrival, from the attack, sustain and
decay (its exit).
It uses a fast attack, as the sound occurs instantly. Thusly audiences
cannot pre precedent the sounds occurrence and will be disrupted
from the calm tone earlier. The sustain lasts for approximately 1.5
seconds and immediately decays.
The door opening and closing uses a fast attack too. The loudness of
the door closing is louder than the door opening. This enforces how
trapped the Joker is, implicating he may be defeated after all. It also
makes the audience feel like the police may now be in control of the
Joker.
When the light comes on, a slow attack is applied, allowing
audiences to precedent the light about to come on. Audiences will
therefore become shocked when they see Batman to be standing
behind the Joker. If the sound attack was fast, then it would be two

13

shock elements for the audience to take in.

The slow attack allows Batmans presence, to
be the only shocking factor.
The slow attack allows for a smooth transition
from the quiet mood, to the later tense mood.
The light sound has unique Harmonics. These
are motion frequency waves set by sound
waves from an object vibrating.
A high-pitched echo based harmonic was used,
giving the light sound a more unique character.
It had a malfunctioning tone to it. The highpitched ringing helped emphasize the Jokers
mental reaction to the sudden appearance of
lights.
This creates a new and rather awakening tone,
to implicate something new is happening.
It can put audiences of guard, as they too are
put off guard by the sudden presence of light. Additionally, it can
give them a mental understanding of feeling disrupted by the lights,
like how the Joker was.
When Batman hits the Joker face onto the table and continues
hitting his hands, a fast attack is used, along with a high frequency,
to unsettle audiences slightly. The high frequency help convince
audiences they are witnessing the scene personally.
The tone connotates a forceful aggression, suddenly disrupting the
quiet mood from earlier, making things become tenser.
A thunder like clap drumbeat also occurs. The beat has a fast attack,
rendering well with the hit sound effects, as it enforces the dramatic
reaction from Batmans attack toward the Joker. It also disrupts the
calm realist tone before and creates an immediate transition to
tension, immediately unsettling audiences.
It has a low rumbling tone, with an occasional rise when a beat
occurs. This creates a tense and suspenseful mood, as Batman and
the Joker are now meeting for the first time.
This increases audiences tension, in wondering what happens next.
After Batman hits the Jokers hand again, the beat rises up to a
higher frequency. Along with the Joker now being quieter, it indicates
an over powering mood, that Batman has managed to overcome
Joker.
This can make the audience feel unsettled by Batmans aggressive
action but also reassured in him beating the Joker.

14

As the beat sound occurs after the low rumbling, it lowers in

frequency, conveying an end to the tension and reassuring
audiences the Batman and Joker may have a calm and organized
conversation.
The dialogue spoken between Batman
and the Joker uses a mid-range
frequency. It was not too loud or
quiet, but conveyed each
characters energy with it.
When the Jokers voice is heard in
the viewing room,

attention to
distracted by any other sound.

The same ambient sound from

the start occurs. This ensures
the audience pays strict
dialogue and will not be

When the Joker outburstedly laughs, a high frequency and fast

attack is used, to make the laugh realistic, as though the audience is
in the scene. With no music, the laugh has more potential to catch
audiences of guard and jump scare them.
It also connotates the Jokers high level of insanity and unsettles
audiences more from his personae.
The ambient track and dialogue create a quiet mood, and any high
frequency noises, which occur, will standout, therefore gaining more
notice.
When the Joker reveals how he and Batman are alike, a low drum
and xylophone beat occur.
The piece has a simple low tone and slow pace, creating a plain and
depressing mood. The low tone allows the dialogue to still be the
main hearable factor.
It renders to the Jokers dialogue, as he is trying to bring Batman
away from the hope of saving Gotham.
In between the Jokers lines, the drumbeats raise in frequency,
creating a dramatic effect from what the Joker has said and will hold
audiences in suspense for what he shall say next.
This makes the audience pay more attention and hopefully feel
tense in fear, as well as possibly believing his philosophy to be true.
When the Joker says You see Im not a monster. Light dings from
the Xylophone occur. A low tone and high pitch is used, to convey a
rather peaceful mood, making the audiences continue to listen with
no edgy/cautious behavior.

15

The tone connotates a conclusive mood, that the Joker has made a
point about why he commits his crimes, making us feel the Joker has
a strong purpose to destroy Gotham and strong willingness to do so.
Thusly making us fear him more.
When Batman suddenly stands up
and grabs the joker, the diegetic
sounds, from getting of the chair to
the Joker being grabbed used a high
frequency to make the sound
realistic as well as to immediately
transition away from the peaceful
mood seconds ago.
The deep rumbling and thunder clap
piece occurs again, conveying things to have
turned tense once more, as
Batmans aggression has come back. It
also makes the audience feel that the Joker is slowly deteriorating
Batmans control over him, making us feel annoyed for his
character and fear the Joker is beginning to win.
When Batman hits the Joker against the window, a high frequency is
used. Additionally the piece becomes louder, enhancing a more
aggressive mood to Batmans actions, making us feel unsettled by
him.
The piece then slowly fades out, as Batman tries holding his anger,
establishing the mood to lower in aggression.
This connoates the Joker to have finally beaten Batman, in
psychological terms and Batman is finding it hard to try and conquer
his anger and aggression.
Audiences may start doubting Batmans superior power over the
Joker, whom may be starting to win.
When the Joker tells Batman how
he will have to play his game to
save one of his friends, the music
fades out, to give a brief break
from the tension and for
audiences to pay key attention to
the dialogue spoken.
This connotates the Joker now
having control over Batmans
aggression, making audiences more fearful of what the Jokers
scheme is.

16

When the Joker begins patronizing Batman, a cello piece occurs.

It slowly rises to a high piercing pitch, conveying the tension to
slowly come back.
Hans Zimmer specifically created this piece, for the Joker.
As the Joker patronizes Batman more, Batman becomes angrier and
beats him up. As this happens, the Cello rises to a higher pitch.
When the Joker laughs after being beaten up, the Cello rises to a
higher pitch, creating more tension and enforcing the Joker to be
undefeatable and that Batmans chances of succeeding over him
are low.
This makes the audience conclusively feel the Joker is now officially
in control and the Batman is not, making us fear for whether the
Batman will be able to save his friends and stop the Jokers plans.
The increase in the Cellos pitch creates a more intense mood,
convincing audiences the Joker has managed to conquer the
Batman.
When Batman is told where to find his friends, the Cello increases
even more, to convey heightened power the Joker has, as well as
the possible psychological distraught Batman has suffered from the
Joker having managed to kidnap his friends.

Bibliography:
Film sound terminology

Sven E Carlsson () FilmSound.org, Available at: http://filmsound.org

(Accessed: 17th March).
The Hobbit Desolation of Smaug information
(16th April 2015) The Hobbit: The Desolation of Smaug - Wikipedia, the
free encyclopaedia, Available at:
http://en.wikipedia.org/wiki/The_Hobbit:_The_Desolation_of_Smaug
(Accessed: 17th March).

The Dark knight information:

17

(14th April 2015) The Dark Knight (film) - Wikipedia, the free
encyclopaedia, Available at:
http://en.wikipedia.org/wiki/The_Dark_Knight_(film) (Accessed: 19th
March).
The Dark Knight: Batman interrogates Joker clip
() Batman Interogates the Joker - Youtube, Available at:
https://youtu.be/RWgyKDfFC_U (Accessed: 19th March).
Desolation of Smaug Pictures:

() Review: , Available at: http://www.examiner.com/review/reviewcumberbatch-sizzles-as-smaug-second-hobbit-installment-12-12-2013

(Accessed: 19th April 2015).
Gopal Sathe () Film Review The Hobbit: The Desolation of Smaug Livemint, Available at:
http://www.livemint.com/Leisure/ZLOVqvEU3AHgYddiHoGIDL/FilmReview--The-Hobbit-The-Desolation-of-Smaug.html (Accessed: 19th
April 2015).

() Desolation - of - Smaug - Dragon.jpg 570x299 pixels, Available at:

http://img2.wikia.nocookie.net/__cb20140226104710/lotr/images/b/ba/D
esolation-of-Smaug-Movie-Dragon.jpg (Accessed: 19th April 2015).
() Comic Vine, Available at: http://www.comicvine.com/the-hobbit-thedesolation-of-smaug/4025-1615/user-reviews/2200-41155 (Accessed:
19th April 2015).
() , Available at: http://www-images.theonering.org/torwp/wpcontent/uploads/2013/10/thdos-trailer02-003.jpg (Accessed: 23rd
April 2015).
() , Available at: http://www.wired.com/wpcontent/uploads/images_blogs/wiredscience/2013/11/the_hobbit_the
_desolation_of_smaug_sneak_peek_hd_mp_4_21.jpg (Accessed: 23rd
April 2015).

18

The Dark knight pictures:

() Christopher Nolan - The Dark Knight: Interrogation Scene Genius,

Available at: http://genius.com/Christopher-nolan-the-dark-knightinterrogation-scene-annotated (Accessed: 19th April 2015).
() , Available at:
http://i.ytimg.com/vi/O0heo1kZnm4/maxresdefault.jpg (Accessed:
23rd April 2015).
() , Available at: https://thechive.files.wordpress.com/2014/08/darkknight-interrogation-scene-9.jpg?quality=94&strip=all (Accessed:
23rd April 2015).
() , Available at: http://www.modernmythmedia.com/wpcontent/uploads/2013/01/photo-9-e1359631041346.png (Accessed:
23rd April 2015).
() , Available at: http://i.imgur.com/vNOsaOn.jpg (Accessed: 23rd
April 2015).
(), Available at:
http://media.tumblr.com/tumblr_m9s2hkFl9G1qd01d7.jpg
(Accessed: 23rd April 2015).
For referencing sources:
http://www.qub.ac.uk/cite2write/harvard3l.html

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