Part 1. Part 2. Belief And Ritual. The power of belief and its will in the distortion of reality is one of Valerie‘s more crucial cinematic aspects. This isn’t simply a belief in the sense of a religious doctrine and all of the aesthetics that accompany it, but the moral belief of the main character whose fantasies dictate the narrative ruptures within the film. However, … Continue reading Valerie And Her Week Of Wonders (1970) – Duality Through Sound and Vision (Part 3).
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.
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).
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.
The Sounds of Sacrifice: The Music of British Folk Horror Films. Introduction. In the late 1960s and the early 1970s, a small group of horror films made in Britain set themselves apart from the rest of the genre, becoming an aptly cult phenomena now acknowledged under the banner of folk horror. As a newly recognised sub-genre, it can be difficult to assess though, as new … Continue reading The Music of Folk Horror – Part 1 (Sub-Genre Theories).
Part 1. Part 2. Part 3. Combining the Readings: Similarities, Contradictions and Cross-Over. “It’s as if the film were pinpointing the very essence of the unfilmable: the entwined couple, monstrous, the two-backed beast of the primal scene, the impossible couple of body and voice.” – Michel Chion (1999, p.149). While Murphy and Fenimore examine and address different points and issues, their resulting essays not only … Continue reading Analysis of Sound and Music in Alfred Hitchcock’s Psycho (1960) – Part 4 (Conclusions)
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 a theft.”(2010, p.80) he begins as so many often do. … Continue reading Analysis of Sound and Music in Alfred Hitchcock’s Psycho (1960) – Part 3 (Acousmatic Concepts)
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).
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.
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).