Politics of Sequence in Code Unknown (2000, Michael Haneke)

Even before the recent events that occurred in Charlottesville, a certain scene from Michael Haneke's 2000 film, Code Unknown (Code Inconnu), had been repeatedly playing on a loop in my mind's eye.  I quietly admitted to myself recently that the scene in question is without a doubt the most telling and poignant dramatic escalation I … Continue reading Politics of Sequence in Code Unknown (2000, Michael Haneke)

Valerie And Her Week Of Wonders (1970) – Duality Through Sound And Vision (Part 2).

Part 1. Innocence and Sexuality. As already suggested, Valerie is first and foremost about the links, barriers and cross-over between innocence and sexuality.  Whilst some characters (for example, the religious fundamentalists), believe there to be a strict differentiation between the two, the film and Valerie herself know that this is not the case; if anything, … Continue reading Valerie And Her Week Of Wonders (1970) – Duality Through Sound And Vision (Part 2).

The Aural Aesthetics of Ghosts in BBC Ghost Stories – Part 5 (Landscape).

Part 1. Part 2. Part 3. Part 4. Natural Diegesis And Aural Interaction With Landscape. One of M.R. James' most recognisable writing traits is his emphasis on rural settings.  From his own personal experience, of both exploring the churches of France on holiday bike-rides and living and holidaying in Suffolk and Norfolk, the rural landscape … Continue reading The Aural Aesthetics of Ghosts in BBC Ghost Stories – Part 5 (Landscape).

The Music of Folk Horror – Part 8 (Conclusions).

Part 1. Part 2. Part 3. Part 4. Part 5. Part 6. Part 7. Conclusions From the analysis of only a handful of British folk horror films, it has been shown that they rely heavily on their music in order to achieve their full cinematic effect.  Altman states the following when discussing genre theory: "Constantly opposing … Continue reading The Music of Folk Horror – Part 8 (Conclusions).

Blue Ruin (Jeremy Saulnier, 2013) – The Violence of Family.

Revenge films have the unfortunate reputation of being simplistic in their outlook yet, looking at the sub-genre's past and present condition, it shows itself to be perhaps the most intelligent form of critical questioning of the role of violence in media and in real life.  This rather strange assumption of the sub-genre is even more … Continue reading Blue Ruin (Jeremy Saulnier, 2013) – The Violence of Family.

Analysis of Sound and Music in Alfred Hitchcock’s Psycho (1960) – Part 3 (Acousmatic Concepts)

Part 1. Part 2. Emphasis on Acousmatic Concepts in Ross J. Fenimore's "Voices that Lie Within". "Psycho almost didn't happen.  This is a unique case of music literally saving a film." - Sullivan (2006, p.246). Like much literature around Psycho, Fenimore's "Voices That Lie Within" begins its argument with setting the scene. "Psycho begins with … Continue reading Analysis of Sound and Music in Alfred Hitchcock’s Psycho (1960) – Part 3 (Acousmatic Concepts)

The Stuart Hall Project – John Akomfrah (BFI).

From its opening declarations, John Akomfrah's documentary on Stuart Hall, The Stuart Hall Project (2013) explicitly acknowledges that it is going to be condensing fifty years of complex history and ideology into its relatively short running time.  Akomfrah achieves this in an unusual but extraordinary way by linking the ideas and history of the public … Continue reading The Stuart Hall Project – John Akomfrah (BFI).

Deep End (1970) and the Musical Emphasising of Narrative (Jerzy Skolimowski).

This article contains spoilers. There are many aspects of distraction within Jerzy Skolimowski's 1970 film, Deep End.  Its highly sexualised, sometimes seedy narrative, its vast array of colours and its crisp, sharp direction are only a handful of its hyper-active eccentricities.  Even David Lynch, a long-time pessimist about colour cinema, is on record as a … Continue reading Deep End (1970) and the Musical Emphasising of Narrative (Jerzy Skolimowski).