Part 1. The Aural-Thematic Ties In BBC Ghost Stories. “He first began to write the ghost stories for which he is now famous in late 1892 or early 1893 while he was a fellow of King’s. They were composed initially to be read aloud in his college rooms as a Christmas treat for his friends.”- Oliver (p.15, 2012). When looking at the source material for … Continue reading The Aural Aesthetics of Ghosts in BBC Ghost Stories – Part 2 (The Disembodied Voice).
Part 1. Part 2. Part 3. Part 4. Home Viewing of Blue and New Reception Possibilities. “Say you were struck down tomorrow, what would your monument be?” – Dr Mathew Herbert. “Oh nothing, because film disappears, thank God.” – Derek Jarman (1993, p.117) There is an unstated irony within this essay in the fact that this writer has never been able to experience Blue in … Continue reading The Problematic Reception of Derek Jarman’s Blue – Part 5 (Home Viewings and Conclusions)
Part 1 Part 2 Part 3 The Reception of Blue in New Technological Forms and Contexts. “The degree to which the spectator identifies with the diegesis as his/her own hallucination fluctuates from spectator to spectator, from narrative moment to moment, from genre to genre.” (Gorbman, 1987, p.45). It is very hard to experience Blue today in the intended format that Jarman produced it in. This … Continue reading The Problematic Reception of Derek Jarman’s Blue – Part 4 (New Technological Contexts).
When is a Film Not a Film? The Problematic Reception of Sound And Vision in Derek Jarman’s Blue. Introduction “I don’t think of myself as avant-garde. I think avant-garde died in the last revolution before the war.” – Derek Jarman (1994) For a director whose visual flair and heightened sense of style became a sickly, heady trademark of his work, Derek Jarman knew perfectly well … Continue reading The Problematic Reception of Sound And Vision in Derek Jarman’s Blue – Part 1 (Introduction).
It is an oft stated belief that silence is the most powerful effect in the canon of film sound techniques and tricks; a seemingly obvious nod to the lack of music to the lead the viewer emotionally and also a gentle nudge at the general over abundance of non-diegetic score in film. One of the most stark and allegorical uses of silence can be found … Continue reading Silence as Resistance – Le Silence De La Mer (Jean-Pierre Melville)