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dc.contributor.authorMorrison, Simon A.*
dc.date.accessioned2018-05-29T13:32:02Z
dc.date.available2018-05-29T13:32:02Z
dc.date.issued2012
dc.identifier.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.
dc.identifier.isbn9879899685826
dc.identifier.urihttp://hdl.handle.net/10034/621160
dc.description.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.
dc.language.isoenen
dc.publisherCine-Clube de Avanca
dc.rights.urihttp://creativecommons.org/licenses/by-nc-nd/4.0/en
dc.subjectEDMC
dc.subjectEnculturation
dc.subjectDiegesis
dc.subjectRave
dc.titleHorizontal dancefloors and vertical screens: Club culture in the cinema and the diegesis of the dancefloor
dc.typeMeetings and Proceedings
dc.contributor.departmentUniversity of Chester; University of Leedsen
dc.internal.reviewer-noteConference from 2012en
dc.date.accepted2000-01-01
or.grant.openaccessNoen
rioxxterms.funderUnfundeden
rioxxterms.identifier.projectUnfundeden
rioxxterms.versionAMen
rioxxterms.licenseref.startdate2212-12-31
html.description.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.


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