The Problematic Reception of Derek Jarman’s Blue – Part 3 (Cinematic Screenings).

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 … Continue reading The Problematic Reception of Derek Jarman’s Blue – Part 3 (Cinematic Screenings).

The Problematic Reception of Derek Jarman’s Blue – Part 2 (Early Forms of Blue)

Part 1 The Reception of Blue in its Original Forms. Blue in Written Form and Early Performances. “The difference between formalist and realist philosophies is not in the possibility of affecting the spectator but in what the cinema ought to do, its prescriptive work.  Cinema either organizes the world or duplicates the experience of perceiving … Continue reading The Problematic Reception of Derek Jarman’s Blue – Part 2 (Early Forms of Blue)

Sound And Music In Cinema About The British Working Class (Part 1).

Propaganda, Metaphor And Nostalgia:  Sound And Music In Cinema About The British Working Class. Introduction – Class and the Arts “The collective function of music has become transformed into the function of ensnaring the customer.” (Adorno, 1947, p.61). Class is an ever pervasive issue in British society. While manifesting into many forms around the world, … Continue reading Sound And Music In Cinema About The British Working Class (Part 1).

The Persistance of Modernity in Japanese Film Scores – Part 2 (Ozu’s Floating Weeds)

Click for Part 1. Asian Values and Floating Weeds (Music by Saito)[i] Ozu’s later films are perhaps more grounded in the traditions of the Japanese family unit.  Their drama comes from an apparent change in value systems (often a systematic change to more western values) or the opposite of this where characters are bound rigidly … Continue reading The Persistance of Modernity in Japanese Film Scores – Part 2 (Ozu’s Floating Weeds)

David Lynch’s Avant-Garde Uses Of Music – Part 3 (Influence).

Part 1. Part 2. Mulholland Drive In Context of Other Subversive Mainstream Films (Eyes Wide Shut). “For the duration of his career, and despite the size of his productions and the fact that they were all studio funded, Kubrick was very much an independent filmmaker.” – Horsley (2005, p.54) Lynch isn’t the only director to take Hollywood … Continue reading David Lynch’s Avant-Garde Uses Of Music – Part 3 (Influence).