Part 1. Part 2. Part 3. Part 4. Part 5. Part 6. Part 7. Part 8. Conclusions. The auteristic traits of any director can have a strong, almost unstoppable effect on a film and its subject matter. This often ranges from stylistic visual aestheticism to more thematic trends in a director’s body of work. For this case study of the work of Ken Russell, this … Continue reading A Musicological Study of Ken Russell’s Composer Films – Part 9 (Conclusions).
Part 1. Part 2. The Dramatisation of History in The Debussy Film (1965). For a film relatively early on in Russell’s portrayals of classical composers, The Debussy Film is surprisingly knowing about the director’s position as story-teller in the relaying of history to the viewer. The history of the French “impressionist” composer, Claude Debussy, is one of the more dramatic that Russell chooses to recreate … Continue reading A Musicological Study of Ken Russell’s Composer Films – Part 3 (The Debussy Film).
The Russell Prism: How Ken Russell’s Auteuristic Aesthetics Presents a Reception Study of Classical Music and its Composers. The following essay was a dummy-run dissertation for my Masters course before realising that the subject had already been covered thrice in audio-visual academia. Though none of three essays analyse or go into the depth of the work (instead choosing to shoehorn their own subject matter through … Continue reading A Musicological Study of Ken Russell’s Composer Films – Part 1 (Introduction).