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.
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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