The subject of grief intertwined with horror<\\/h2>\\n To discuss horror stories and it\\u2019s accompaniment of horror music, there\\u2019s always the subject of underlying social issues, grief and fear, rooted from different points of history (different eras of horror reflect current states of affairs in politics, education and social satire) and how they relate to us.<\\/span><\\/p>\\n How does the discussion of modern horror soundtracks relate to us now to before?<\\/span><\\/p>\\n There is a visceral contrast between the soundtracks of horror films since the late seventies to now; broadly, it feels as though the thoughtfulness of a musical perspective in a film has been diminished in modern horror cinema.<\\/span><\\/p>\\n There\\u2019s a teneable link to humanity to the music of this story, because it links directly to our main protagonist:<\\/span><\\/p>\\n

{"id":3569,"date":"2023-11-26T09:29:06","date_gmt":"2023-11-26T14:29:06","guid":{"rendered":"https:\/\/www.patheos.com\/blogs\/anexhibitionofarthistory\/?p=3569"},"modified":"2023-11-26T09:29:06","modified_gmt":"2023-11-26T14:29:06","slug":"how-horror-film-soundtracks-highlight-the-fragility-of-humanity","status":"publish","type":"post","link":"https:\/\/www.patheos.com\/blogs\/anexhibitionofarthistory\/2023\/11\/how-horror-film-soundtracks-highlight-the-fragility-of-humanity\/","title":{"rendered":"How horror film soundtracks highlight the fragility of humanity"},"content":{"rendered":"\n<\/head>

"Director

Director William Friedkin (left), cinematographer Owen Roizman and producer William Peter Blatty preparing to shoot a scene from The Exorcist (based on Blatty\u2019s novel) at an intersection on O Street in the Washington, D.C., neighborhood of Georgetown, during 1973. Wikimedia Commons<\/figcaption><\/figure>\n<\/p>

The subject of grief intertwined with horror<\/h2>\n To discuss horror stories and it\u2019s accompaniment of horror music, there\u2019s always the subject of underlying social issues, grief and fear, rooted from different points of history (different eras of horror reflect current states of affairs in politics, education and social satire) and how they relate to us.<\/span><\/p>\n How does the discussion of modern horror soundtracks relate to us now to before?<\/span><\/p>\n There is a visceral contrast between the soundtracks of horror films since the late seventies to now; broadly, it feels as though the thoughtfulness of a musical perspective in a film has been diminished in modern horror cinema.<\/span><\/p>\n There\u2019s a teneable link to humanity to the music of this story, because it links directly to our main protagonist:<\/span><\/p>\n

(Floating Sound\/Reagan\u2019s Theme; The Exorcist two, The Heretic. Composed Ennio Morricone 1977)<\/em><\/strong><\/span><\/h3>\n \n <\/div>\n \n \n \n \n \n