The Use of Sound and Music in Film About the British Working Class – Conclusions (Part 9).

Part 1. Part 2. Part 3. Part 4. Part 5. Part 6. Part 7. Part 8. Conclusions The aim of this assessment of music in film about the British working class was initially construed to highlight which of the uses discussed was the most critically honest. The obvious chronological order of the films was originally intended to show a positive growth in quality and a … Continue reading The Use of Sound and Music in Film About the British Working Class – Conclusions (Part 9).

Distant Voices, Still Lives (Part 3) – Music, Memory and Society.

Part 1. Part 2. Part 3. Part 4. Part 5. Part 6. Music, Memory and Society. Adorno and Eisler argue that: “As a matter of principle, priority goes to the truly novel musical resources. However, motion-picture music can also summon other musical resources of the most varied nature, on the condition that it reaches the most advanced contemporary modes of composing, which are characterized by … Continue reading Distant Voices, Still Lives (Part 3) – Music, Memory and Society.

Distant Voices, Still Lives – Sounds of the Past. (Part 2)

Part 1 Part 2 Part 3 Part 4 Part 5 The Sounds of the Past “To this inexorable, insidious awareness of your own dependence on your past, like an illness that grows even harder to bear, I gave the name “Nostalgia”…” (Tarkovsky, 1986, p.206) One of Distant Voices, Still Lives’ key differences to all that had gone before in the canon of British working class … Continue reading Distant Voices, Still Lives – Sounds of the Past. (Part 2)

Distant Voices, Still Lives – Nostalgia and Hardship Through Sound & Music (Part 1).

Part 1. Part 2. Part 3. Part 4. Working Class Pasts – Nostalgia and Past Hardship Through Sound and Music. “Since the 1970s especially, the tendency has grown for directors to indulge their own musical tastes in scoring a film” (Gorbman, 2006, p.17). Distant Voices, Still Lives (1988) – Differences in Time. Terence Davies’ autobiographical second feature is the last film to be examined.  Unlike … Continue reading Distant Voices, Still Lives – Nostalgia and Hardship Through Sound & Music (Part 1).

The Loneliness of the Long Distance Runner – Use of Music and Sound In British Working Class Film (Part 4).

Part 1 Part 2 Part 3 The Loneliness of the Long Distance Runner. The Metaphorical Use of Diegetic Sound and Music. The Loneliness of the Long Distance Runner has several different uses of sound; two of which aren’t musical.  The title perhaps gives a hint that the sound of running feet on a hard ground will play a vital role in the film.  This rhythmic, … Continue reading The Loneliness of the Long Distance Runner – Use of Music and Sound In British Working Class Film (Part 4).

The Use of Sound & Music in British Working Class Film – Part 3 (British New Wave Cinema).

Part 1. Part 2. Metaphorical Music and British New Wave Film. “But who could describe the delicious sensation produced in me by the delicate harmony and angelic singing of that song which finally did! What an awakening, what bliss, what ecstasy when I opened my ears and my eyes together!” (Rousseau, 1781, p.294). British New Wave Film. The British New Wave movement, like so many … Continue reading The Use of Sound & Music in British Working Class Film – Part 3 (British New Wave Cinema).

The Use of Sound & Music in British Working Class Film – Part 2 (This Happy Breed – David Lean)

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, and agony of war.” (Wollen, 1993 p.41) David Lean’s 1944 … Continue reading The Use of Sound & Music in British Working Class Film – Part 2 (This Happy Breed – David Lean)