Part 1. Part 2. The first of these musical destructions comes when Pierrot and Marianne are housed in the flat of a dead man. So far, the film has shown little sign of doing anything as extreme as breaking out into musical numbers, so when Anna Karina starts to sing along to the accompaniment of a piano track, it instantly kills the little illusion Pierrot Le … Continue reading Avant Godard – Part 3 (Pierrot Le Fou and Conclusion on Godard’s Music).
Though 1968 may best be remembered for Romero’s zombies, another film released that same year had a similar impact to the way horror films in the subsequent decade were scored. Rosemary’s Baby, directed by Polish émigré Roman Polanski, has a legacy of imitators that developed from its scoring techniques. Polanski’s tale of the occult in a Manhattan apartment block primarily employs a classical score but large … Continue reading The Horror Score Rebellion – Part 3 (Rosemary’s Baby And Popular Music In Horror)
Playing against our expectations and how music can twist our emotional construction and beliefs on scenarios of reality for its own ends. “Music is a “mirror” that allows one to “see one’s self”” – Slobada and O’Neill quoting DeNora (1999 p51). I mentioned early about the dark to side to my argument but also how it backs up my initial ideas more effectively then the … Continue reading Film Scores and the Social Construction of Emotions (Lynch and Kubrick) – Part 2