Terror Tracks Ii Darkness and Discord

Introduction i

Terror Tracks ii Darkness and Discord

Genre, Music and Sound

Series editor: Mark Evans, Macquarie University, Sydney

Over the last decade screen soundtrack studies has emerged as a lively area of research and analysis mediating between the fields of cinema studies, musicology and cultural studies. It has deployed a variety of cross-disciplinary approaches to illuminate an area of film’s audio-visual operation that was neglected for much of the late twentieth century. This new series extends the field by addressing the development of various popular international film genres in the post-war era (1945–present), analysing the variety and shared patterns of music and sound use that characterize each genre.

Forthcoming titles Drawn to Sound: Music, Sound and Animation Cinema, edited by Rebecca Coyle Sexuality, Sound and Cinema, edited by Bruce Johnson Introduction iii

Terror Tracks Music, Sound and Horror Cinema

Edited by Philip Hayward iv Darkness and Discord

First published in 2009 by

UK: Equinox Publishing Ltd, Unit 6, The Village, 101 Amies Street, London, SW11 2JW USA: DBBC, 28 Main Street, Oakville, CT 06779 www.equinoxpub.com

All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or any information storage or retrieval system, without prior permission in writing from the publishers.

British Library Cataloguing-in-Publication Data

A catalogue record for this book is available from the British Library.

ISBN 978 1 84553 202 4 (paperback)

Library of Congress Cataloging-in-Publication Data Terror tracks : music, sound and horror cinema / edited by Philip Hayward. p. cm. — (Genre, music and sound) Includes bibliographical references (p. ) and index. ISBN 978-1-84553-202-4 (pb) 1. Motion picture music—History and criticism. 2. Horror films—History and criticism. I. Hayward, Philip. ML2075.T47 2009 781.5’42—dc22 2007030272

Typeset by S.J.I. Services Printed and bound in Great Britain by Athenaeum Press Limited, Gateshead, U.K. Introduction v

Contents

Acknowledgements vii About the Authors ix Introduction: Scoring the Edge 1 Philip Hayward 1 Psycho-Analysis: Form and Function in Bernard Herrmann’s Music for Hitchcock’s Masterpiece 14 James Wierzbicki 2 An Audiovisual Foreshadowing in Psycho 47 Scott Murphy 3 Sound and Music in Hammer’s Vampire Films 60 Michael Hannan 4 Creative Soundtrack Expression: Tôru Takemitsu’s Score for Kwaidan 75 Kyoko Koizumi 5 Prog Rock, the Horror Film and Sonic Excess: Dario Argento, Morricone and Goblin 88 Tony Mitchell 6 Inflamed: Synthetic Folk Music and Paganism in the Island World of The Wicker Man 101 Jon Fitzgerald and Philip Hayward 7 Rhythms of Evil: Exorcizing Sound from The Exorcist 112 Mark Evans 8 Texas Chainsaws: Audio Effect and Iconicity 125 Rebecca Coyle and Philip Hayward 9 Incorporating Monsters: Music as Context, Character and Construction in Kubrick’s The Shining 137 Jeremy Barham 10 Music of the Night: Scoring the Vampire in Contemporary Film 171 Janet K. Halfyard vi DarknessContents and Discord

11 Scary Movies, Scary Music: Uses and Unities of Heavy Metal in the Contemporary Horror Film 186 Lee Barron and Ian Inglis 12 “Like Razors through Flesh”: Hellraiser’s Sound Design and Music 198 Karen Collins 13 Spooked by Sound: The Blair Witch Project 213 Rebecca Coyle 14 Popular Songs and Ordinary Violence: Exposing Basic Human Brutality in the Films of Rob Zombie 229 Laura Wiebe Taylor 15 Terror in the Outback: Wolf Creek and Australian Horror Cinema 238 Philip Hayward and Harry Minassian 16 The Ghostly Noise of J-Horror: Roots and Ramifications 249 James Wierzbicki Index 269 Introduction vii

Acknowledgements

One of the more curious aspects about being an academic working in interdisciplinary studies is that your activities and schedules are not easily compartmentalized. The nature of deadlines means that you are often working on one project in the margins of another. This was the case for this book. Much of the editing of the anthology and co- authoring of my chapters occurred in the somewhat unlikely environs of Port Vila (Vanuatu) and Nadi and Suva (Fiji) while researching an ARC-funded project on the Melanesian music industry. The bright sunshine, warmth and verdancy of these locations provided an unlikely counterpart to the chilling DVD films I examined on my laptop and the dark scenarios and soundtracks that I analysed. Unlike my colleague Paul Théberge, who became so preoccupied with the scores of David Cronenberg films while writing a chapter on the topic for my previous anthology on science-fiction soundtracks (Off the Planet, 2004) that they began to invade his dreams, my Pacific locations ensured that I slept soundly during the production of this book. My thanks to my colleague Mark Evans for both providing me with the opportunity to initiate the Equinox series of soundtrack studies and coping with yet another of my absences from our home institution, Sydney’s Macquarie University. Also – as always – thanks to my family for their similar tolerance of my regular absences and, particularly, to my daughters Amelia and Rosa, for enduring the regular stream of chainsaw noises, screams and atonalities that emanated from the domestic DVD player during much of 2005 to 2007. In its initial stages this anthology was developed as a jointly edited project with Rebecca Leydon, and several of the chapters were commissioned from authors she identified and approached. My thanks for her early input and, more generally, for her inspirational soundtrack scholarship. Rebecca Coyle also merits acknowledgement for providing a series of insights and critical feedback on individual chapters and the overall project of this anthology. Final thanks to Sandra Margolies for her careful copy-editing. viii Darkness and Discord Introduction ix

About the Authors

Jeremy Barham is a lecturer in Music at the University of Surrey, where he teaches courses in screen music studies. His research focuses on the use of pre-existent music, science fiction and horror-film scoring, music in experimental and avant-garde film, and musical temporality in film. He is currently working on a monograph for Cambridge University Press entitled Music, Time and the Moving Image.

Lee BarBarLee rrrononon is a senior lecturer in Media and Communication at Northumbria University. His main research and teaching interests are in the areas of cultural theory, media and popular culture. His writings have appeared in journals such as Fashion Theory, The Journal of Popular Culture and International Review of the Aesthetics and Sociology of Music.

Karen CollinsCollinsKaren is Canada Research Chair in Technology and Communication at the University of Waterloo, where she teaches game development and sound design and is developing software for interactive audio applications. She has published two books and numerous articles on audio for film and games.

Rebecca Coyle is a senior lecturer at Southern Cross University, Lismore, who has edited two anthologies on Australian cinema soundtracks, Screen Scores (1998) and Reel Tracks (2005). She is currently researching the Australian film music production sector and editing a volume on animation film sound and music (for publication in this series).

Mark EvansEvansMark is the head of Media, Music and Cultural Studies at Macquarie University, Sydney. He is the author of Open up the Doors: Music in the Modern Church (2006) and editor of the Encyclopedia of Film Music and Sound (Equinox, forthcoming).

Jon Fitzgerald is an associate professor at Southern Cross University, Lismore, and a practising guitarist and composer. He has previously written on a variety of musical topics and is author of Popular Music: Theory and Musicianship (1999).

Janet K. Halfyaryaryarddd is a senior lecturer at Birmingham Conservatoire. Her publications include Danny Elfman’s Batman: A Film Score Guide (2004) and an edited volume on Luciano Berio’s Sequenzas (2007). x DarknessAbout the and Authors Discord

Michael Hannan is a professor at Southern Cross University, Lismore, and a practising composer. His publications include The Australian Guide to Careers in Music (2003) and he is currently researching the Australian film music production sector.

Philip Haywarddd is Director of Research Training at Southern Cross University and an adjunct professor in the Department of Media, Music and Cultural Studies at Macquarie University, Sydney. His previous books include Off the Planet: Music, Sound and Science Fiction Cinema (2005).

Ian InglisInglisIan is a reader in Popular Music Studies, and Research Director in Media and Communication, in the School of Arts & Social Sciences at the University of Northumbria. He has edited three books: The Beatles, Popular Music and Society: A Thousand Voices (2000); Popular Music and Film (2003); and Performance and Popular Music: History, Place and Time (2006).

KKKyoko KKo oizumioizumioizumi is an associate professor of music at Otsuma Women’s University, Tokyo, Japan. She received her PhD from the University of London Institute of Educa- tion. Her research interests include youth studies of popular music and film music studies.

HarHarHarrrry MinassianMinassiany is a multi-instrumentalist, composer and arranger with a degree in Creative Arts from Macquarie University, Sydney. His recent projects include event management for Ara Gevorgian’s 2006 Sydney concert.

TTTony MitchellMitchellony is a senior lecturer in Cultural Studies at the University of Technology, Sydney. He is the author of Popular Music and Local Identity: Rock, Pop and Rap in Europe and Oceania (1996) and editor of Global Noise: Rap and Hip Hop Outside the USA (2001).

Scott Murphy is an associate professor of music theory at the University of Kansas. His publications include articles on Brahms, Ives, Bartók, Penderecki, and on music in science-fiction films.

LLLaura WWaura iebe TTiebe aylorayloraylor is a PhD candidate in the Department of English and Cultural Studies at McMaster University, Hamilton, Canada, where she is examining boundary issues in speculative fictions and theory. Her publications include articles on the relationships between science fiction, dystopia and metal music.

James Wierzbicki is a musicologist who teaches at the University of Michigan and serves as executive editor of the MUSA (Music of the United States of America) series of scholarly editions. Introduction xi

Dedicated to Clive Barker for inspiring my interest in Horror and for writing Sacrament and Weaveworld