Issue link: https://digital.copcomm.com/i/1518296
40 M PS E . O R G and then analysing the film, that it leans strongly toward pathos as its main rhetorical device, but it also uses sound effects and Foley skillfully to suspend the audience's sense of disbelief. Throughout the film, the filmmakers take advantage of the audience's emotional attachment to the characters and try to use that in order to steer the audience's emotions. Toy Story 4's mix generally tends to favour music score over sound effects. The reason for this is that music is a very effective pathos channel. When sound effects are used, they are very precise and often used to punctuate between musical phrases or accentuate them. Interaction between score and sound design is done masterfully in Toy Story 4. For instance, there is a scene at the fair near the ending of the movie at [1:19:14] where Duke Caboom rides his bike over the Ferris wheel and jumps across the fairground. The entire sequence is perfectly orchestrated. There is a moment when Duke is in the air and all of the diegetic sounds go away except for the fireworks, and the dominating element is the music, which is seemingly lifting and protecting the character, through this heroic act. In this moment, Duke is entirely inside his head and we as the audience are with him, shielded by the music Frame from Toy Story 4 (2019). Still from Road to Roma (2020). With one of the blimps used to record the "Halconazo" scene sounds in Roma (2018). Stills from Roma (2018). The sounds of the crackdown move around the camera's POV as it turns.