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. 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).
Few directors have had their relationship with music analysed as much as Alfred Hitchcock. His natural ability to select the right composer to almost brand his films aurally has often meant that the musical scores have become synonymous with his filmmaking style even though they have been created by several different composers over the years. With this context then, Hitchcock’s 1963 film, The Birds, seems … Continue reading Sounds of The Birds (1963) – Alfred Hitchcock.
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. 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)
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. 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)
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)
Part 1. Part 2. Part 3. Part 4. Working Class Pasts – Nostalgia and Past Hardship Through Sound and Music. “Since the 1970s especially, the tendency has grown for directors to indulge their own musical tastes in scoring a film” (Gorbman, 2006, p.17). Distant Voices, Still Lives (1988) – Differences in Time. Terence Davies’ autobiographical second feature is the last film to be examined. Unlike … Continue reading Distant Voices, Still Lives – Nostalgia and Hardship Through Sound & Music (Part 1).
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).