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).
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 this writer has never been able to experience Blue in … 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 rare and often film festival based rather than through a … Continue reading The Problematic Reception of Derek Jarman’s Blue – Part 3 (Cinematic Screenings).
Part 1. Im Kwon-Taek – Reluctant Traditionalist or Radical Experimenter? “Despite its ideological shortcomings and male-centred stance, Im’s cinematic sublimation of ‘Korean-ness’ still focuses on the contradictions between tradition and modernity among precarious lives existing on the periphery of a capitalist society.” (Lee, 2005, p.69) It is somewhat difficult to gage the cultural impact of a director’s films on a country outside of your own. … Continue reading South Korean Film Scores and Ease of Distribution – Part 2 (Im Kwon-Taek and Seopyeonje).
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)
Propaganda, Metaphor And Nostalgia: Sound And Music In Cinema About The British Working Class. Introduction – Class and the Arts “The collective function of music has become transformed into the function of ensnaring the customer.” (Adorno, 1947, p.61). Class is an ever pervasive issue in British society. While manifesting into many forms around the world, the British flavour of delineation appears to draw the most … Continue reading Sound And Music In Cinema About The British Working Class (Part 1).
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 handful of explanations, I wanted to go further into what … 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 that the genre and its musical practices can be defined … 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 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)
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 by Asian tradition and are desperate to escape. The music … Continue reading The Persistance of Modernity in Japanese Film Scores – Part 2 (Ozu’s Floating Weeds)