Part 1. Part 2. Part 3. Part 4. Diegesis in The Wicker Man. Some of the music assessed in the last section raised further questions besides their thematic and narrative content. Though this element was an important part of the analysis, another aspect almost appeared to be ignored; that of the diegesis of such performances. For a horror film, The Wicker Man presents the viewer … Continue reading The Music of Folk Horror – Part 5 (The Wicker Man’s Diegesis).
Part 1. Part 2. Part 3. Narrative Functionality. The music of The Wicker Man, while having few boundaries in terms of the effect of its various functions on its narrative content, is split into several different types. For this section, the specific type of music to be looked at is the folk song; a form that makes several appearance in the film with original compositions … Continue reading The Music of Folk Horror – Part 4 (The Wicker Man’s Narrative Functionality).
The audio-visual theory of diegesis probably does have some form of basic, traditional film theory equivalent. The splitting of film sound into what the characters and the audience can hear and the differences and problems this can cause are the basis for so much, often excessive, film sound theory. For a film such as Michael Powell and Ernest Pressburger’s The Red Shoes (1948), the audio … Continue reading The Red Shoes (Powell & Pressburger) – Visual Forms of Diegesis.