Words versus moving pictures

So what brings our favourite cinematic works to life? We aim to explore the words and directions that lay foundation to some our favourite movies within the new community page.

come on over and join the ongoing discussion in which we hope some insight will be unearthed, from the professional to the keen, as we compare the screenplay to the finished product itself.

A new movie will be chosen by the community each fortnight as we discuss the current choice. Although if you're not in the mood for a movie discussion then there's plenty of space within our general discussion to extend a virtual handshake or discuss an interesting topic of choice.

See you all there!

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The Post-Rock Climax

Post-Rock it seems lends itself inherently to the cinematic. The mostly instrumental genre evokes  a wide range of imagery. Grace, melancholy, through to earth-shattering narrative conclusions, manifesting epoch shifts in our minds.

For instance, the nerve-racking and surprisingly emotional Dead Space 2 is carried through its credits with the uneasy sound of 'Fathom', by Chicago based instrumentalists Russian Circles, so effectively that one cannot help but sit and reflect on Issac's experience in hope that the little nugget of redemption offered is explored further in the third part.

Examples can also be seen emerging in film with established composers such as Clint Mansell referencing Godspeed You! Black Emperor as a major influence and the use of Mogwai to flesh out Darren Aronofsky's The Fountain (2006). Most notably with the epic climax 'Death is the Road to Awe', underpinning Aronofsky's visceral masterpiece with an emotional core that takes strength to handle.

Yet we need not look towards the final act to see examples in recent celluloid history. Danny Boyle's 28 Days Later (2002) saw the use of 'East Hastings' by arguably the pioneer's of the genre, Godspeed you! Black Emperor, to set the tone for the rest of the movie with a derelict London promising a dread filled fate. Or John Murphy's 'In the House a Heartbeat', a powerfully simple us of thematic repetition.

Sigur Ros at the end of Life Aquatic (2004), Mogwai during Miami Vice (2006), the list doesn't end there. However, the true benefit of the genre lies in its ability to conjure whole vistas of imagery within the audiences mind as a standalone medium. One cannot help but imagine departing their physical self and bursting towards space when listening to the likes of 'Europa' or 'Initerant' by Rosetta, although the band have explicitly wished to have nothing to do with all things 'post-'.

We can only hope to see more examples of this visionary marriage of mediums, fleshing out our cinematic experience by providing an emotional foundation for the intangible notions that lie between the words of a script.

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