Part 1. Part 2. Part 3. Part 4. Home Viewing of Blue and New Reception Possibilities. “Say you were struck down tomorrow, what would your monument be?” – Dr Mathew Herbert. “Oh nothing, because film disappears, thank God.” – Derek Jarman (1993, p.117) There is an unstated irony within this essay in the fact that … Continue reading The Problematic Reception of Derek Jarman’s Blue – Part 5 (Home Viewings and Conclusions)
Part 1 Part 2 Blue’s cinematic screening – Readings, Reception and Contradictions. “Whilst homosexuals die, many heterosexuals reach for the remote control and simply turn up the volume. Does it come in stereo?” (Jarman, 1993, p.138) The screening of Blue in cinemas during its 1993 release date is its most typical form though screenings were … Continue reading The Problematic Reception of Derek Jarman’s Blue – Part 3 (Cinematic Screenings).
Part 1. Propaganda and David Lean’s This Happy Breed. “The war years saw a revival of English romanticism in response to the need for an idealized reaffirmation of British history and shared values (as perceived within the dominant ideology) and, on the other, for the release into fantasy and dream to relieve the stress, hardship, … Continue reading The Use of Sound & Music in British Working Class Film – Part 2 (This Happy Breed – David Lean)
While writing about a perceived pivoting moment in horror film scores for a research essay last year, I briefly mentioned towards the end of what I termed “a legacy of balance” within horror film music and film scores. With the word limitations on that essay meaning that the point was only vaguely surmised with a … Continue reading The Shining – Legacy of Balance In Horror Film Scores.
Part 1 Part 2 J-Horror and the Balance of Traditional and Modern Asian Music (House and Kwadian) The term J-Horror is often used within the critical evaluation of modern day Japanese film, usually to denote the success of two low budget horror films; namely Ringu (1998) and Ju-On (2002). It is somewhat of a misnomer … Continue reading The Persistence of Modernity in Japanese Film Scores – Part 3 (J-Horror, Kwaidan and House)
Part 1. The Sound of the Giallo There are certain facts about the Giallo sub-genre that critics enjoy repeating over and over again. It seems unlikely that viewers approaching Berberian will not know at least something basic about the genre yet it is still something that takes up such a large chunk of the analysis … Continue reading Berberian Sound Studio – Part 2 (The Sound of the Giallo and Narrative Sounds)
Click for Part 1. Asian Values and Floating Weeds (Music by Saito)[i] Ozu’s later films are perhaps more grounded in the traditions of the Japanese family unit. Their drama comes from an apparent change in value systems (often a systematic change to more western values) or the opposite of this where characters are bound rigidly … Continue reading The Persistance of Modernity in Japanese Film Scores – Part 2 (Ozu’s Floating Weeds)
The Persistence of Modernity in Japanese Film Scores. Introduction The scores and music produced for Japanese cinema highlight a constant change of values within the country; a relationship rarely mirrored so accurately in the cinema of anywhere else. Whereas the film scores of other countries can be looked at as a product of the trends … Continue reading The Persistence of Modernity in Japanese Film Scores – Part 1 (Ozu, Tradition and Silent Film)
Introduction Peter Strickland’s 2012 film Berberian Sound Studio is the first popular film quite possibly since Stanley Donan’s Singing In The Rain (1952)[i], to focus its narrative around sound as a concept in cinema. As a visual medium, sound and music is often taken for granted; an assumed norm of film since the 1930s that … Continue reading Berberian Sound Studio – Sound And Music As Narrative (Part 1)
Part 1. Part 2. Mulholland Drive In Context of Other Subversive Mainstream Films (Eyes Wide Shut). “For the duration of his career, and despite the size of his productions and the fact that they were all studio funded, Kubrick was very much an independent filmmaker.” – Horsley (2005, p.54) Lynch isn’t the only director to take Hollywood … Continue reading David Lynch’s Avant-Garde Uses Of Music – Part 3 (Influence).