Tag: film music analysis articles

Film, Film Music and Sound

The Long Goodbye (1973, Robert Altman) – A Musical Critique of Film-Noir.

Out of all of the modern interpretations of film-noir produced in the 1970s, The Long Goodbye (1973) is by far the most aesthetically interesting.  This isn’t only because of its integration with counter-culture ideas and values, but with its continuous critical assessment of genre tropes.  This critique, which extends to the literature and music as well as the films of the hindsight-based movement, is considered … Continue reading The Long Goodbye (1973, Robert Altman) – A Musical Critique of Film-Noir.

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Film, Film Music and Sound

Point Blank (John Boorman, 1967) – Rhythmic Footsteps and Diegetic Power.

What is the best way for a film to show the power of a character?  Is it to retain the power within the narrative world and show it be all encompassing, or is it better to show it to have control over specific qualities of the medium itself?  One of the best examples of this debate to be realised in cinematic aesthetics is in John … Continue reading Point Blank (John Boorman, 1967) – Rhythmic Footsteps and Diegetic Power.

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Film, Film Music and Sound

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 fan of Deep End‘s array of powerful colours, and styles.  … Continue reading Deep End (1970) and the Musical Emphasising of Narrative (Jerzy Skolimowski).

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Film, Film Music and Sound

David Lynch’s Musical Formations of Cinematic Ideas (The Big Dream).

David Lynch has a very clear and obvious interest in music. This interest finds its way into his films via a number of different methods and often build upon the director’s main recurring themes and ideas. What makes David Lynch distinct from other American directors with interests in music such as Martin Scorsese and Woody Allen is that Lynch’s interest has peaked at a point … Continue reading David Lynch’s Musical Formations of Cinematic Ideas (The Big Dream).

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