It must have come as a political shock to see a film in 1965 highlight, with such casual brutality, the privilege of the male patriarch. Agnès Varda’s third feature, Le Bonheur, is such a contradiction in its conveyance of a happiness, ignorant of morality, that its shock is rarely diminished. The film is a colourful, seasonal evocation of a very unusual ménage à trios which … Continue reading Mozart in Le Bonheur (1965) – Agnès Varda.
Part 1. Part 2. Tradition Through Folk Aesthetics in the Music of The Wicker Man (1973). The first case study film for this essay is Robin Hardy’s 1973 film, The Wicker Man. Though it is the latest of the films to be looked at, it has the most complex relationship with its music, formed entirely of its own accord rather than on folk horror practices … Continue reading The Music of Folk Horror – Part 3 (The Wicker Man’s Folk Aesthetics).
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. Conclusions “The link between art and real history is the fact that works of art are structured like monads. History may be called the content of works of art. Analysing them is the same as becoming conscious of the immanent history stored up in them.” Adorno (1970, p.126). The bedrock of this essay has been to show how Ligeti’s … Continue reading Ligeti’s Atmosphères as a Musical Foreshadowing of Kubrick’s 2001- Part 4 (Conclusions)
Ligeti’s Atmosphères as a Musical Foreshadowing of Stanley Kubrick’s 2001: A Space Odyssey. Introduction. “First in Cologne in 1957 and later during my long stay in Vienna in the ’60s, I gradually evolved a musical style in which I abandoned structures conceived in terms of bars, melodies, lines and conventional forms. In this respect my first two orchestral works, Apparitions and Atmosphères, are the most … Continue reading Ligeti’s Atmosphères as a Musical Foreshadowing of Kubrick’s 2001- Part 1 (Introduction)
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.
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).
Part 1. Part 2. Part 3. Part 4. Part 5. Part 6. Music, Memory and Society. Adorno and Eisler argue that: “As a matter of principle, priority goes to the truly novel musical resources. However, motion-picture music can also summon other musical resources of the most varied nature, on the condition that it reaches the most advanced contemporary modes of composing, which are characterized by … Continue reading Distant Voices, Still Lives (Part 3) – Music, Memory and Society.
Nostalgia can manifest in many forms at the cinema. Sometimes it can be overt, sometimes it can be unconscious but film is most definitely the medium to explore its inner workings. A number of films have recently used sound, not just in an interesting way, but as a major part of the narrative and character focus whilst touching upon nostalgia. These range from the superb … Continue reading Silence (Pat Collins, 2012) – Landscape and Nostalgia.
Part 1. Part 2. The Music of Soo-Chul Kim and the P’ansori aesthetic. Soo-Chul Kim is the composer of the nondiegetic score for Seopyeonje, though it is unclear how much influence he had on the other musical aspects of the film. Looking at the film’s score, it can at first seem quite sparse once the diegetic P’ansori music is ignored. Soo-Chul Kim’s music recurs throughout … Continue reading South Korean Film Scores and Ease of Consumption – Part 3 (Seopyeonje’s P’ansori and Soo-Chul Kim).