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.
The Female Voice in Subversive Soundtracks of the Counter-Culture Era. After a recent viewing of Alan J. Pakula’s crime thriller, Klute (1971), something occurred at the back of my mind that connected the film with a number of others. At first, I struggled with my memory as to what exactly it was about the film that was bringing other films of the era to mind; … Continue reading The Female Voice in Subversive Soundtracks of the Counter-Culture Era.
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.
In spite of its very energetic reappraisal and various analyses, Michael Powell’s career destroying masterpiece, Peeing Tom (1960), is a film whose musical eccentricities and sound design contain hidden depths. For a film that appears on the surface to be almost excessively Freudian, this was normal yet, when looking at some of the detailed reappraisals and even some of the high-end re-evaluations of its narrative … Continue reading Peeping Tom (Michael Powell,1960) – Aural Perspectives of Murder.