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Film, Film Music and Sound

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 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)

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Film, Film Music and Sound

Berberian Sound Studio – Sound And Music As Narrative (Part 1)

Introduction Peter Strickland’s 2012 film Berberian Sound Studio is the first popular film quite possibly since Stanley Donan’s Singing In The Rain (1952)[i], to focus its narrative around sound as a concept in cinema.  As a visual medium, sound and music is often taken for granted; an assumed norm of film since the 1930s that has a texture of interweaved sound and music that can … Continue reading Berberian Sound Studio – Sound And Music As Narrative (Part 1)

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Film, Film Music and Sound

David Lynch’s Assimilation Of The Avant Garde – Part 2 (Musical Score and Club Silencio).

Part 1. Musical score – In the Context of David Lynch and Film Noir. The score for Mulholland Drive is a melting pot of ideas, genres and textures all of which add to the ineffable nature of the film.  Instead of putting the music in contrast with outside environments and films like most normal critiques would, the analysis is firstly in the context of Lynch’s … Continue reading David Lynch’s Assimilation Of The Avant Garde – Part 2 (Musical Score and Club Silencio).

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Film, Film Music and Sound

The Horror Score Rebellion – Part 3 (Rosemary’s Baby And Popular Music In Horror)

Though 1968 may best be remembered for Romero’s zombies, another film released that same year had a similar impact to the way horror films in the subsequent decade were scored. Rosemary’s Baby, directed by Polish émigré Roman Polanski, has a legacy of imitators that developed from its scoring techniques. Polanski’s tale of the occult in a Manhattan apartment block primarily employs a classical score but large … Continue reading The Horror Score Rebellion – Part 3 (Rosemary’s Baby And Popular Music In Horror)

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Film, Film Music and Sound

The Horror Film Score Rebellion Part 1 – Classic Horror

INTRODUCTION 1968 was the year that horror cinema sought to change the way in which it scored its films and began to develop alternatives to the increasingly cliched sounds that had become a staple of the genre since the silent era. David Raskin, who had scored the first two Basil Rathbone-starring Sherlock Holmes films in the early thirties, as well as a number of film … Continue reading The Horror Film Score Rebellion Part 1 – Classic Horror

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