Horizontal dancefloors and vertical screens: Club culture in the cinema and the diegesis of the dancefloor
AuthorsMorrison, Simon A.
AffiliationUniversity of Chester; University of Leeds
MetadataShow full item record
AbstractThe culture – in particular the counterculture - of an age will always inform its cinema. This paper will argue that the most significant countercultural movement of the last 25 years has been the “rave” revolution, that morphed into Electronic Dance Music Culture (EDMC). The paper will address how that scene can be read through the medium of its cinematic representation, in UK films such as Human Traffic (1999) and North American productions such as 2012’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 use of music in “clubbing” movies. The paper will firstly address non-diegetic codes and the particular issues of scoring a film 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 to time-coded nightclub sequences, postproduction. The paper will then look at metadiegesis, when the music actually forms part of the club experience, blurring these diegetic boundaries and highlighting the peculiar issues that arise when rotating a horizontal dancefloor onto a vertical cinema screen.
CitationMorrison, S. (2012). Horizontal dancefloors and vertical screens: Club culture in the cinema and the diegesis of the dance floor. Avanca International Cinema Conference Proceedings. Avanca, Portugal: Cine-Clube de Avanca.
PublisherCine-Clube de Avanca
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