“In documentary we deal with the actual, and in one sense with the real. But the really real, if I may use that phrase, is something deeper than that. The only reality which counts in the end is the interpretation which is profound.” – John Grierson. With Sight & Sound’s recent poll for best documentaries (September 2014), I wanted to explore some of the British … Continue reading Great British Documentaries
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 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 of it for the spectator.” (Staiger, 1992, p.51) Though Blue … Continue reading The Problematic Reception of Derek Jarman’s Blue – Part 2 (Early Forms of Blue)
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, the British flavour of delineation appears to draw the most … Continue reading Sound And Music In Cinema About The British Working Class (Part 1).
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 by Asian tradition and are desperate to escape. The music … Continue reading The Persistance of Modernity in Japanese Film Scores – Part 2 (Ozu’s Floating Weeds)
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 visuals and use them for his own artistic ends. A … Continue reading David Lynch’s Avant-Garde Uses Of Music – Part 3 (Influence).
Tokyo Story is one of those films that always comes up in “greatest films ever made” polls and probably always will, yet ask even regular film fans and half have never heard of it never mind it’s genius of a director Yasujiro Ozu. This is a sad case for a film held in such high esteem in critic circles yet it’s a trend that will probably … Continue reading Tokyo Story – Yasujiro Ozu (1953)