Tag: World Cinema

Film, Film Music and Sound

Avant Godard! – Part 2, Musical Subversion (Bande à Part and Pierrot Le Fou)

Part 1. Ideas In Later Films By Godard. Godard would continue to subvert the role of record players in his work to similar but more extreme effects. It seems odd that the connecting factor to all the scenes mentioned is the presence of his, then wife, Anna Karina.  Godard is capable of presenting her dancing and singing with a relatively normal relationship between the visual … Continue reading Avant Godard! – Part 2, Musical Subversion (Bande à Part and Pierrot Le Fou)

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Film, Film Music and Sound

Avant Godard! Musical Subversion In The Films Of Jean-Luc Godard. (Part 1)

Avant Godard! Musical Subversion And Fictional Interaction With Non-Diegetic Music In The Films Of Jean-Luc Godard. Introduction – French New Wave As Avant Garde. When discussing Avant Garde cinema, the most obvious choices of cinematic subject would no doubt be linked to the likes of Dali, Buñuel and Cocteau.  However, the gradual movement from Avant Garde to Art House cinema presents a more interesting case for Avant Garde … Continue reading Avant Godard! Musical Subversion In The Films Of Jean-Luc Godard. (Part 1)

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Film, Film Music and Sound

How Historical And Cultural Dynamics Shaped The Work of Andrei Tarkovsky (Part 2-Nostalghia).

Tarkovsky after The Soviet Union “The Artist exists because the world is not perfect” –  Tarkovsky in interview. When considering what makes a cinema officially national, what elements are really being held to account?  No matter what is said, there will always be anomalous results that mean certain visuals, techniques and scores don’t actually define a national cinema but are simply used by it.  Perhaps … Continue reading How Historical And Cultural Dynamics Shaped The Work of Andrei Tarkovsky (Part 2-Nostalghia).

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Film, Film Music and Sound

Film Scores and the Social Construction of Emotions (Kurosawa and Ozu) – Part 1.

As a race of individual people, trying to find out where our characteristics came from can be a difficult task.  More specifically, trying to deduce whether we gained emotional characteristics on our own or whether they were influenced by outside factors (also meaning that these outside factors have in fact been effected by our emotions and not the other way round) is an almost impossible … Continue reading Film Scores and the Social Construction of Emotions (Kurosawa and Ozu) – Part 1.

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