During the course of my research, I have been creating posts on social media (Twitter and Instagram) for each of the 148 films within my corpus. This page curates some of the audiovisual material created for these posts, alongside the text that accompanied them.
Musical Bleed in MANDY (2018)
The Nerdwriter’s fine video essay, MANDY: The Art of Film Grain, explores the unique ‘visual bleed’ aesthetic of Panos Cosmatos’ movie. The boundaries between musical elements of this “disintegrating rock opera” are equally porous.
Women, Violence and the Jukebox in DEATH PROOF (2007)
Death Proof takes the notion of the jukebox musical literally in its first half. The camera leers over music technology & human bodies alike. The takeaway is ultimately the same as Pulp Fiction: women who overindulge in vinyl will be punished.
This short video essay takes its soundtrack and captions from Kevin B Lee’s The Tarantino Death Toll, recontextualising the death sounds of the female characters in Death Proof within the earlier jukebox scenes.
Overhead Shots in THE ENDLESS (2017)
The record-playing moment in the wonderful THE ENDLESS (2017) is one of a number of circle-shaped overhead shots that expresses the film’s cosmic worldview. Records have a pristine beauty that overhead shots amplify: a perfect circle revolving mesmerically, captured in a rectangular frame; but their surfaces are fallible, producing sound that can jump forward, back, get stuck – reflecting the core dilemma of THE ENDLESS perfectly.
Josh and Technology in WHILE WE’RE YOUNG (2014)
WHILE WE’RE YOUNG (2014) features a crisp montage scene, covered by a spot of Vivaldi, that demonstrates the different attitudes to technology displayed by the film’s featured couples, Josh (Ben Stiller) & Cornelia (Naomi Watts) and Jamie (Adam Driver) & Darby (Amanda Seyfried). But the scene doesn’t tell the whole story about Josh’s struggles with tech: this video essay reruns the montage to investigate further….
Keanu Reeves Gif from KNOCK, KNOCK (2015)
Statements of affection for vinyl abound in the Indy Vinyl films – but Keanu Reeves imbues the sentiment with a Shakespearean gravitas in Eli Roth’s KNOCK KNOCK (2015).