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).
Part 1. Part 2. Part 3. Part 4. Part 5. Part 6. Part 7. Communal Singing of Popular Music. “Song lyrics threaten to offset the aesthetic balance between music and narrative cinematic representation. The common solution taken by the standard feature film is not to declare songs off limits – for they can give pleasure of their own – but to defer significant action and … Continue reading Distant Voices, Still Lives (Part 4) – Communal Singing and Domestic Abuse.
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.
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)
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).
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).
Terence Davies is perhaps the most important creative force to emerge from Liverpool since The Beatles. The veteran filmmaker, who only has a handful of films to his name, is the quintessential art cinema director who mixes art house visuals with kitchen sink realism and autobiographical narratives. His first full length film is an exercise in storytelling and makes a relatively straightforward drama seem something … Continue reading Distant Voices, Still Lives – Terence Davies (1988)