@5 days ago with 4 notes
Shadows dance upon the walls of Robert Wiene’s Das Cabinet Des Dr. Caligari(1920). The world of shadows and light, edges and angles, the slanted and the macabre, all seem so much more at home in silent cinema as a whole; images that negate sound have a very natural ghostliness to their nature. This is doubly so for a film that nigh on invented horror cinema and psychological cinema as we know…
@1 week ago
Transitional Films and Symbolic Representations of Classical Composers.
In spite of using the visual form as an excuse for experimentation with documentary and biography as seen in his films for the BBC, it wasn’t until the early 1970s where Russell really found material to properly experiment with. The word experimental however must be contextualised as even the films…
@1 day ago with 5 notes
Manifesting The Supernatural:
The Aural Aesthetics Of Ghosts In BBC Ghost Stories.
“When Monty first began to write them, with the intention of inducing a pleasing terror in his listeners, he did so as an avid and discerning reader and connoisseur of the genre, keenly aware of his precedents and of the characteristics, objectives, and limitations of the ghost story as he understood…
@1 week ago with 1 note
From the analysis of only a handful of British folk horror films, it has been shown that they rely heavily on their music in order to achieve their full cinematic effect. Altman states the following when discussing genre theory:
“Constantly opposing cultural values to counter-culture values, genre films regularly depend on duel…