Part 1 Part 2 Sound As Narrative The narrative ambiguity of Berberian begins to kick in during the last quarter of the film. The sound within the narrative gradually eases over the line and starts to become part of the narrative affecting a number of the characters and not simply Gilderoy. The first hint that the sound is entering reality comes when the previously abused … Continue reading Berberian Sound Studio – Part 3 (Sound as Narrative and Conclusions).
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 surrounding the film, there could be an argument for them … Continue reading Berberian Sound Studio – Part 2 (The Sound of the Giallo and Narrative Sounds)
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 has a texture of interweaved sound and music that can … Continue reading Berberian Sound Studio – Sound And Music As Narrative (Part 1)