Part 1. Musical score – In the Context of David Lynch and Film Noir. The score for Mulholland Drive is a melting pot of ideas, genres and textures all of which add to the ineffable nature of the film. Instead of putting the music in contrast with outside environments and films like most normal critiques would, the analysis is firstly in the context of Lynch’s … Continue reading David Lynch’s Assimilation Of The Avant Garde – Part 2 (Musical Score and Club Silencio).
Introduction – The Boundaries Of Criteria. “He was the most original director in 1980s cinema, its only surrealist” – Mark Cousins on David Lynch (2004, p.394). The Avant-Garde is like a spark or a flash of quick-fire creative ideals. The idea of Avant-Garde cinema is not so much to present an experience or escapism, but is there instead to quickly question the ideals of the audience … Continue reading David Lynch + Assimilation of Avant-Garde Aesthetics in Subversive, Mainstream Soundtracks (Part 1)
Playing against our expectations and how music can twist our emotional construction and beliefs on scenarios of reality for its own ends. “Music is a “mirror” that allows one to “see one’s self”” – Slobada and O’Neill quoting DeNora (1999 p51). I mentioned early about the dark to side to my argument but also how it backs up my initial ideas more effectively then the … Continue reading Film Scores and the Social Construction of Emotions (Lynch and Kubrick) – Part 2