Manifesting The Supernatural: The Aural Aesthetics Of Ghosts In BBC Ghost Stories. Introduction. “When Monty first began to write them, with the intention of inducing a pleasing terror in his listeners, he did so as an avid and discerning reader and connoisseur of the genre, keenly aware of his precedents and of the characteristics, objectives, and limitations of the ghost story as he understood the … Continue reading The Aural Aesthetics of Ghosts in BBC Ghost Stories – Part 1 (Introduction).
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).
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.
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. 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.
Part 1 Part 2 Part 3 Part 4 Part 5 The Sounds of the Past “To this inexorable, insidious awareness of your own dependence on your past, like an illness that grows even harder to bear, I gave the name “Nostalgia”…” (Tarkovsky, 1986, p.206) One of Distant Voices, Still Lives’ key differences to all that had gone before in the canon of British working class … Continue reading Distant Voices, Still Lives – Sounds of the Past. (Part 2)
This article contains spoilers. Though drenched in visual complexities and sharp, hap-hazard editing, Ingmar Bergman’s Persona (1966) is film that is aurally interesting as it is exhilarating to view. Its opening segment of film footage from all corners of cinematic life, spliced together to form a montage of passing thoughts and nightmares, is actually a beautifully put together piece of sound editing as well. This … Continue reading Persona (1966) – Consequences of a Silent World (Ingmar Bergman)