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Film Music, Time and Bernard Herrmann
David Butler

The tendency in most writing on the temporal properties of film music has been to note music‘s ability to establish, quickly and efficiently, a films historical setting. Although acknowledging this important function, this paper seeks to explore a wider range of temporal properties fulfilled by film music. Three aspects of musics temporality are discussed: anachronism (whereby choices of anachronistic music can provide the spectator with ways of making sense of a films subtext or its characters’ state of mind), navigation (the ability of music to help the spectator understand where and when they are in a films narrative) and expansion (musics ability to expand our experience of film time). The paper focuses on Bernard Herrmann, and his score for Taxi Driver (1976), and argues that Herrmann was particularly sensitive to the temporal possibilities of film music.

Film Studies
Isabel Karremann

 90 5 Edmund Spenser’s The Ruines of Time as a Protestant poetics of mourning and commemoration Isabel Karremann I have completed a memorial more lasting than bronze and higher than the royal grave of the pyramids. Horace, Odes, Book 3, Ode 30 According to Horace, the poem is a memorial surpassing the commemorative function of funeral monuments like the pyramids. This claim to the superior mnemonic power of poetry derives from the immateriality and consequently, the argument goes, the immortality of the poem as well as the person commemorated by it. The

in Forms of faith
Dawn Lyon

. I then explain the reused and replicated data on which this chapter is based. The discussion that follows is in two parts. In the first, I explore the ways in which place is a site of affective attachment, produced through the rhythms and routines of everyday life, with particular reference to the atmosphere of the ‘bike rush’ of dockyard workers as recalled in oral history interviews. In the second, I make use of young people’s imagined futures to explore time, space and the operation of class. Doing sociology: Ray Pahl in Sheppey Pahl spent the

in Revisiting Divisions of Labour
Steven Peacock

This article offers an alternative to the predominant and pervasive theoretical approaches to discussing time in film. It adheres to ordinary language, and moves away from a ‘mapping’ of theoretical models or contextual analysis to concentrate on a films specifics. It considers the particular handling of time in a particular film: The Age of Innocence (Martin Scorsese, 1993). Fixing on specific points of style, the article examines the interplay of time and gesture, and the editing techniques of ellipses and dissolves. Both the article and the film hold their attention on the intricacy and intimacy afforded by moments, as they pass. Both explore how the intensity of a lovers relationship over decades is expressed in fleeting passages of shared time. In doing so, the article advances a vocabulary of criticism to match the rhetoric of the film, to appreciate the works handling of time. Detailed consideration of this achievement allows for a greater understanding of the designs and possibilities of time in cinema.

Film Studies
Queen Elizabeth’s calendar muddle
Steve Sohmer

Shakespeare and his contemporaries grew up in a world caught between two irreconcilable, adversarial views of existence. One of the principal artifacts of the collision between the Catholic and Protestant cosmologies – indeed, its most pervasive aspect, inescapable as time itself – was the existence of two rival calendars. During Shakespeare’s lifetime Julius Caesar’s old

in Shakespeare for the wiser sort
Steve Sohmer

In 1992 Graham Bradshaw wrote,‘Although it is factitious and distracting, the theory or myth of ‘double time’ is still respectfully trundled out in every modern scholarly edition of Othello … It has been as long-lived as Nahum Tate’s adaptation of King Lear which held the stage for a century and a half and, like that adaptation, deserves to be firmly laid to rest.’ 1

in Shakespeare for the wiser sort
Complicating simplicity in Doctor Who
Benedict Morrison

real time, encouraging a simplicity of visual style. Even through the 1970s, the cost of video made significant post-production largely unavailable. This simplicity of visual style is complemented by a narrative and thematic simplicity; stories are typically linear, resolved and carry discernible messages. T.C. Worsley commended this straightforwardness in The Financial Times in 1965, celebrating the Daleks’ ‘beautiful simplicity’ ( 1965 : 18) of design and narrative function. Allowing for the idea that simplicity can be beautiful, it is not my

in Complexity / simplicity
Linda and Jim revisited
Jane Elliott and Jon Lawrence

We begin our chapter with the same material 1 with which the previous excerpt concluded but present it here as it appears in the archived transcript of the interview rather than as it appears in the original book (where Pahl’s role in helping Linda voice her frustrations is edited out): Pahl : Do you think this is probably one of the toughest times of your life? I think this is the worst time because I think it should have been a time – ‘Trevor’, the youngest one is 11 now and ‘Marilyn’ will be 13, and I think it’s a time when we

in Revisiting Divisions of Labour
Eunice Goes

1 Social democracy at a time of crisis I think this is a centre-left moment … But for me it’s a centre-left moment because people think there’s something unfair and unjust about our society. You’ve got to bring the vested interests to heel; you’ve got to change the way the economy works. That’s our opportunity. Ed Miliband1 Eight years have passed since the beginning of the global financial crisis but its impact still reverberates across Europe. Levels of public debt are still high, the stability of European banks is questioned by rating agencies, economic

in The Labour Party under Ed Miliband
Vincent Quinn

of a particular historical moment, namely our own; it is much harder for us to know how pre-modern readers would have experienced the written word. Not only do ancient concepts of identity differ from our own; language is not presented in the same way across time. Greek and Latin inscriptions consist of a solid block of letters with no punctuation, and no gap between the words. 3 Skilful readers would presumably have been able to meet the challenge of construing such inscriptions, but even experienced eyes would have struggled to put expression into a

in Reading