![]() The film opens with Gilderoy walking on the long corridors of the Berberian Sound Studio, having just landed from England, suitcases in hand. ![]() In the second part, I tackle several aspects related to how sound is manufactured in the film, from the sound machines to the foley, which I discuss in relation to the notions of pastiche, schizophonia and rhizophonia. ![]() I will examine in the first part of my essay a series of associations and contrasts involved in the culture clash that Gilderoy experiences, to throw light on the psychological and emotional dynamic of the characters this will help to better understand the narrative as well as the critique of violence and sexual exploitation that Strickland’s film articulates about the giallo movies discussed in the third part. Reticent and slightly embarrassed, Gilderoy soon finds himself trapped in the bizarre world he is supposed to make audible, as the difference between reality and fiction gradually becomes distorted and indistinct. He soon learns to his dismay that the work he was commissioned to do has nothing in common with the nature documentaries he used to work on back home in Dorking, as it involves a much less innocuous type of sounds and cinematography: it is a horror movie of a genre very popular in Italy during that time, in the seventies, called giallo. Strickland’s film, recently adapted for a theatrical representation in London, is about foley artist Gilderoy (Toby Jones), a middle-aged reserved and timid Englishman, who goes to Italy to make the sound effects for a film at a post-production company called Berberian Sound Studio. I will also take a look at the critique of the genre, triggered by the distance from the original that the pastiche takes. ![]() Starting from Strickland’s stated intention, I will explore the ways in which the film qualifies as an affectionate pastiche. Peter Strickland intended Berberian Sound Studio (2012) as a film tribute to the way analogue sound was created in the 1970s giallo movies while eschewing a too retro or faithful rendition of the original. ![]()
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