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).
Part 1 Part 2 Blue’s cinematic screening – Readings, Reception and Contradictions. “Whilst homosexuals die, many heterosexuals reach for the remote control and simply turn up the volume. Does it come in stereo?” (Jarman, 1993, p.138) The screening of Blue in cinemas during its 1993 release date is its most typical form though screenings were rare and often film festival based rather than through a … Continue reading The Problematic Reception of Derek Jarman’s Blue – Part 3 (Cinematic Screenings).
Part 1 Part 2 Part 3 Part 4 Blades of Blood (2010) – Joon-Ik Lee Joon-ik Lee’s 2010 film Blades of Blood shares a number of similarities with both the previously mentioned examples. The film is a modern, violent period picture based on a graphic novel. It is stylistically similar to Oldboy, especially within its colour palate though rarely recreates the standard set by Park. … Continue reading South Korean Film Scores and Ease of Distribution – Part 5 (Blades of Blood and Conclusions)
Part 1 Part 2 Sound As Narrative The narrative ambiguity of Berberian begins to kick in during the last quarter of the film. The sound within the narrative gradually eases over the line and starts to become part of the narrative affecting a number of the characters and not simply Gilderoy. The first hint that the sound is entering reality comes when the previously abused … Continue reading Berberian Sound Studio – Part 3 (Sound as Narrative and Conclusions).
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).
Part 1. Propaganda and David Lean’s This Happy Breed. “The war years saw a revival of English romanticism in response to the need for an idealized reaffirmation of British history and shared values (as perceived within the dominant ideology) and, on the other, for the release into fantasy and dream to relieve the stress, hardship, and agony of war.” (Wollen, 1993 p.41) David Lean’s 1944 … Continue reading The Use of Sound & Music in British Working Class Film – Part 2 (This Happy Breed – David Lean)
While writing about a perceived pivoting moment in horror film scores for a research essay last year, I briefly mentioned towards the end of what I termed “a legacy of balance” within horror film music and film scores. With the word limitations on that essay meaning that the point was only vaguely surmised with a handful of explanations, I wanted to go further into what … Continue reading The Shining – Legacy of Balance In Horror Film Scores.
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)