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)

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Isolation And Madness In Cul-De-Sac (1966) – Roman Polanski.

Few films are as explicit in their depiction of character relationships that are at the mercy of the fluctuating landscape than Roman Polanski's 1966 film, Cul-De-Sac.  Polanski had been to both ends of the environmental spectrum within his previous two films - the open waters of Knife In The Water (1962) and the cramped, claustrophobic … Continue reading Isolation And Madness In Cul-De-Sac (1966) – Roman Polanski.

The Forests Of Ivan’s Childhood (1962) – Andrei Tarkovsky.

For a film about war, Ivan's Childhood (1962) by Andrei Tarkovsky dwells quite unexpectedly upon the natural landscape of its narrative.  At first, this might seem somewhat unsurprising; after all, most films set during war often make use of the battered terrain of the landscape, if only to show the fallout and power of the … Continue reading The Forests Of Ivan’s Childhood (1962) – Andrei Tarkovsky.

A Musicological Study of Ken Russell’s Composer Films – Part 9 (Conclusions).

Part 1. Part 2. Part 3. Part 4. Part 5. Part 6. Part 7. Part 8. Conclusions. The auteristic traits of any director can have a strong, almost unstoppable effect on a film and its subject matter.  This often ranges from stylistic visual aestheticism to more thematic trends in a director's body of work.  For … Continue reading A Musicological Study of Ken Russell’s Composer Films – Part 9 (Conclusions).

A Musicological Study of Ken Russell’s Composer Films – Part 8 (Lisztomania).

Part 1. Part 2. Part 3. Part 4. Part 5. Part 6. Part 7. Lizstomania and the effect of Rock Aesthetics on Classical Reception. After making Tommy, Russell clearly felt as if there was still new territory to be explored.  The last of his composer films would not simply be a final whimper in the … Continue reading A Musicological Study of Ken Russell’s Composer Films – Part 8 (Lisztomania).

The Aural Aesthetics of Ghosts in BBC Ghost Stories – Part 3 (William Ager).

Part 1. Part 2. A "Disembodied Voice" of some form is a clear norm for representing a creature that, by its very definition, is now bodiless.  This means that, as an aural technique, it is used frequently throughout many other ghost stories as well.  In Lawrence Gordon Clark's films, the aural trait occurs several times … Continue reading The Aural Aesthetics of Ghosts in BBC Ghost Stories – Part 3 (William Ager).

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).