Part 1. Part 2. Part 3. Part 4. Part 5. Human Interaction With The Landscape And Its Soundscape. “The wind was bitter from the north, but was at his back when he set out for the Globe. He quickly rattled and clashed through the shingle and gained the sand, upon which, but for the groynes which had to be got over every few yards, the … Continue reading The Aural Aesthetics of Ghosts in BBC Ghost Stories – Part 6 (Excavation).
Part 1. Part 2. The Dramatisation of History in The Debussy Film (1965). For a film relatively early on in Russell’s portrayals of classical composers, The Debussy Film is surprisingly knowing about the director’s position as story-teller in the relaying of history to the viewer. The history of the French “impressionist” composer, Claude Debussy, is one of the more dramatic that Russell chooses to recreate … Continue reading A Musicological Study of Ken Russell’s Composer Films – Part 3 (The Debussy Film).
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).
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).
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)
Sound and Music in Alfred Hitchcock’s Psycho and its Different Readings. Introduction. “If Psycho had been intended as a serious picture, it would have been shown as a clinical case with no mystery or suspense. The material would have been used as the documentation of the case history. We’ve already mentioned that total plausibility and authenticity merely add up to a documentary.” – Alfred Hitchcock … Continue reading Analysis of Sound and Music in Alfred Hitchcock’s Psycho (1960) – Part 1
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).