Sunday, May 02, 2004
Film & Music
One of the weblogs notes their dissatisfaction with Kill Bill Vol. 2… because of the music. I find I`m affected quite significantly by the combination of film and music. As against music and video where in most cases it comes across as just bland advertising – of course the work of visual artists like Chris Cunningham, Michel Gondry and Spike Jonze (among others of a similar ilk) rise way above that type of criticism… more works of art in collaboration with the music (see the video exhibition travelling around Australia – in Qld Art Gallery at present). I suppose that is the trick though... as always the corporate raises its ugly head as music video has to contend with not only the commercial imperatives it is weighted down with per label intrusion and video show conditions but also the relationship between the creativity of the music creator and the video maker. Tricky business no doubt.
In regard to music and film… if there is one thing Tarentino has under is thumb is the usage of music in film… great choices, well placed… and it just works so effectively. I have a sizeable collection of film soundtracks that have inspired me when watching film… I love the Kill Bill Vol 1 music and I`m awaiting a copy of Vol. 2. I’m sure the use will be somewhat different as Vol. 1 is more about Hong Kong cinema and Vol. 2 is about Spaghetti westerns… one thing I find very weak and part of the emphasis on horizontal marketing is the obviously placed hit song… no attempt at diegesis or integration into the rhythm of the cinematic flow… and sometimes so completely out of place forcing itself into the role of a music video insert utilising components of the film. Why? Ahhh… commercial interest has contributed so much to the contamination of art.
I find soundtracks fascinating especially when they embrace the conceptual tie in with the film… and music used manages to generate its own world when presented in an audio only mode.
CRIPPLED DICK HOTWAX is a German based label releasing a mixed bag of erotic and porn soundtrack music from Germany, France and Italy along with great Eastern Bloc and Scandanavian obscure jazz and lounge compilations. Standouts for me include the Beat at Cinecittà series and Shake Sauvage
LA DOUCE – IRMA RECORDS is a great Italian based record label releasing obscure Italian cinematic and lounge music. “Easy listening mood and classic 60s/70s tunes and soundtracks.” From the great Mo’Plen series of which I have a few to a swag of groovy cocktail beats.
Aside from that there are all the great films that David Lynch, Sophia Coppola, Paul Thomas Anderson have made with their distinctive use of music…
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One of the weblogs notes their dissatisfaction with Kill Bill Vol. 2… because of the music. I find I`m affected quite significantly by the combination of film and music. As against music and video where in most cases it comes across as just bland advertising – of course the work of visual artists like Chris Cunningham, Michel Gondry and Spike Jonze (among others of a similar ilk) rise way above that type of criticism… more works of art in collaboration with the music (see the video exhibition travelling around Australia – in Qld Art Gallery at present). I suppose that is the trick though... as always the corporate raises its ugly head as music video has to contend with not only the commercial imperatives it is weighted down with per label intrusion and video show conditions but also the relationship between the creativity of the music creator and the video maker. Tricky business no doubt.
In regard to music and film… if there is one thing Tarentino has under is thumb is the usage of music in film… great choices, well placed… and it just works so effectively. I have a sizeable collection of film soundtracks that have inspired me when watching film… I love the Kill Bill Vol 1 music and I`m awaiting a copy of Vol. 2. I’m sure the use will be somewhat different as Vol. 1 is more about Hong Kong cinema and Vol. 2 is about Spaghetti westerns… one thing I find very weak and part of the emphasis on horizontal marketing is the obviously placed hit song… no attempt at diegesis or integration into the rhythm of the cinematic flow… and sometimes so completely out of place forcing itself into the role of a music video insert utilising components of the film. Why? Ahhh… commercial interest has contributed so much to the contamination of art.
I find soundtracks fascinating especially when they embrace the conceptual tie in with the film… and music used manages to generate its own world when presented in an audio only mode.
CRIPPLED DICK HOTWAX is a German based label releasing a mixed bag of erotic and porn soundtrack music from Germany, France and Italy along with great Eastern Bloc and Scandanavian obscure jazz and lounge compilations. Standouts for me include the Beat at Cinecittà series and Shake Sauvage
LA DOUCE – IRMA RECORDS is a great Italian based record label releasing obscure Italian cinematic and lounge music. “Easy listening mood and classic 60s/70s tunes and soundtracks.” From the great Mo’Plen series of which I have a few to a swag of groovy cocktail beats.
Aside from that there are all the great films that David Lynch, Sophia Coppola, Paul Thomas Anderson have made with their distinctive use of music…
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