Folk, Rock & Pop within the Cinema

Lectures

Developed for Audio Visual Concepts, RMIT Media Arts, 2002

  • Days of Wine & Roses

    1967 – Blake Edwards (USA)

    Lounge Pop

    Profile - Henry Mancini
    inebriation & subjective states
    symbolism through musical arrangement

  • Do The Right Thing

    1987 – Spike Lee (USA)

    Americana Folk

    Profile - Bill Lee
    black landscapes
    musicological appropriation
    harmonic reclaimation

  • O Brother Where Art Thou?

    2000 – Joel & Ethan Coen (USA)

    Blues & Bluegrass

    various traditonal songs & recordings
    meta-rhythms in folk cycles
    race & music technologies
    musical anthropology and cinematic mythology

  • The Pawnbroker

    1965 – Sidney Lumet (USA)

    Polyglottic Jazz

    Profile - Quincy Jones
    the imploded city
    musical miscegenation

  • Shaft

    1971 – Gordon Parks Jr (USA)

    Funk & Soul

    Profile - Issac Hayes
    the city grid and rhythmic patterns
    race implications in ‘chase music’
    song scoring

  • Wild Angels

    1966 – Roger Corman (USA)

    Rock - group

    Profile - Mike Curb / Davie Allen & the Arrows
    primitive electricity
    the sound of rock
    motor mechanisms

  • Dead Man

    1995 – Jim Jarmusch (USA)

    Rock - solo

    Profile - Neil Young
    rebirthing ‘silent cinema’ music
    electricity and mystic lore
    solo instrumentation and mythic being

  • Rumblefish

    1982 – Francis Ford Coppola (USA)

    Art Rock

    Profile - Stewart Copeland
    clock time and temporization
    percussivity
    internal biorhythms

  • Resident Evil

    2002 – Paul Anderson (Germany)

    Electronic Beats

    Profile - Marco Baltrami
    dissolution of atmosphere
    player/user musical dramatics
    sonarization of space

  • Patlabor 3

    2002 – Fumihiko Takayama (Japan)

    Electronic Ambient

    Profile - Kenji Kawai
    liquefied sensations in music
    tectonic frequencies
    harmonic displacement