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."- … Continue reading The Aural Aesthetics of Ghosts in BBC Ghost Stories – Part 2 (The Disembodied Voice).
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 … Continue reading Analysis of Sound and Music in Alfred Hitchcock’s Psycho (1960) – Part 4 (Conclusions)
Part 1. Part 2. Emphasis on Acousmatic Concepts in Ross J. Fenimore's "Voices that Lie Within". "Psycho almost didn't happen. This is a unique case of music literally saving a film." - Sullivan (2006, p.246). Like much literature around Psycho, Fenimore's "Voices That Lie Within" begins its argument with setting the scene. "Psycho begins with … Continue reading Analysis of Sound and Music in Alfred Hitchcock’s Psycho (1960) – Part 3 (Acousmatic Concepts)
Sound and Music in Alfred Hitchcock's Psycho and its Different Readings. Introduction. "If Psycho had been intended as a serious picture, it would have been shown as a clinical case with no mystery or suspense. The material would have been used as the documentation of the case history. We've already mentioned that total plausibility and … Continue reading Analysis of Sound and Music in Alfred Hitchcock’s Psycho (1960) – Part 1
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).
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, … 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, … Continue reading The Use of Sound & Music in British Working Class Film – Part 2 (This Happy Breed – David Lean)
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).
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 … Continue reading The Shining – Legacy of Balance In Horror Film Scores.
Part 1 Part 2 J-Horror and the Balance of Traditional and Modern Asian Music (House and Kwadian) The term J-Horror is often used within the critical evaluation of modern day Japanese film, usually to denote the success of two low budget horror films; namely Ringu (1998) and Ju-On (2002). It is somewhat of a misnomer … Continue reading The Persistence of Modernity in Japanese Film Scores – Part 3 (J-Horror, Kwaidan and House)