Horizontal dancefloors and vertical screens: club culture in the cinema and the diegesis of the dancefloor

• Autores: Simon A. Morrison
• Localización: Avanca / Cinema 2012 / Cine Clube de Avanca (dir.), 2012, ISBN 978-989-96858-2-6, págs. 574-581
• Idioma: varios idiomas
• Texto completo no disponible (Saber más ...)
• Resumen

  • The culture – in particular the counterculture - of an age will always inform its cinema. This paper will argue that themost significant countercultural movement of the last 25 years has been the “rave” revolution, that morphed intoElectronic Dance Music Culture (EDMC). The paper will address how that scene can be read through the mediumof its cinematic representation, in UK films such as Human Traffic (1999) and North American productions such as2012’s Irvine Welsh’s Ecstasy.The paper will focus on the way music is utilised within EDMC film texts and the particular issues raised by the useof music in “clubbing” movies. The paper will firstly address non-diegetic codes and the particular issues of scoring afilm that itself is focused on the tropes and modes of electronic music, by drawing on the primary input of composers.The argument will then move on to the more ambiguous area of diegetic codes, for instance retro fitting music totime-coded nightclub sequences, postproduction. The paper will then look at metadiegesis, when the music actuallyforms part of the club experience, blurring these diegetic boundaries and highlighting the peculiar issues that arisewhen rotating a horizontal dancefloor onto a vertical cinema screen.