The Aural Aesthetics of Ghosts in BBC Ghost Stories – Part 4 (Music).

Part 1. Part 2. Part 3. Nondiegetic Musical Themes And Textures. “Indeed, the celestial voices of film music do resemble a phantom in several significant ways.  They are ephemeral, they are not ‘substantial’ or do not constitute part of what audiences cognise as important in the film, and have an effect that is not apparent.” – Donnelly (p.8, 2005). Though looking at nondiegetic scores for … Continue reading The Aural Aesthetics of Ghosts in BBC Ghost Stories – Part 4 (Music).

The Aural Aesthetics of Ghosts in BBC Ghost Stories – Part 2 (The Disembodied Voice).

Part 1. The Aural-Thematic Ties In BBC Ghost Stories. “He first began to write the ghost stories for which he is now famous in late 1892 or early 1893 while he was a fellow of King’s.  They were composed initially to be read aloud in his college rooms as a Christmas treat for his friends.”-  Oliver (p.15, 2012). When looking at the source material for … Continue reading The Aural Aesthetics of Ghosts in BBC Ghost Stories – Part 2 (The Disembodied Voice).

The Aural Aesthetics of Ghosts in BBC Ghost Stories – Part 1 (Introduction).

Manifesting The Supernatural: The Aural Aesthetics Of Ghosts In BBC Ghost Stories. Introduction. “When Monty first began to write them, with the intention of inducing a pleasing terror in his listeners, he did so as an avid and discerning reader and connoisseur of the genre, keenly aware of his precedents and of the characteristics, objectives, and limitations of the ghost story as he understood the … Continue reading The Aural Aesthetics of Ghosts in BBC Ghost Stories – Part 1 (Introduction).