Gated reverb: queering the pitch in trade queen

Prout, Ryan ORCID: https://orcid.org/0000-0003-1058-7741 2021. Gated reverb: queering the pitch in trade queen. Short Film Studies

Full text not available from this repository. (Request a copy)

Abstract

Director David Wagner says ‘[Trade Queen] was never intended to be a period film.’ However, the suitability of black and white 35 mm for the story points to the inflection between markers of analogue and digital registration as one that also codes the boundary between queer and straight experience. This article argues that while Trade Queen is tagged as film without dialogue, the use of sound design and music in the film is critical to a narrative told aurally as well as visually. Furthermore, it is the use of sound in this film—which ends with vinyl interference— that articulates the tension between analogue and digital, and between heteronormative and queer experience. In punchlines, the synthesised reverb of Ruby Treasure’s score, and in interiors heard from the gated picket fence, we hear as well as see the transitions between public and private selves.

Item Type:	Article
Status:	Submitted
Schools:	Modern Languages
Subjects:	G Geography. Anthropology. Recreation > GT Manners and customs H Social Sciences > HN Social history and conditions. Social problems. Social reform H Social Sciences > HQ The family. Marriage. Woman M Music and Books on Music > M Music N Fine Arts > N Visual arts (General) For photography, see TR P Language and Literature > PD Germanic languages T Technology > TR Photography
Uncontrolled Keywords:	gated reverb, analogue/digital, public/private, heteronormative/ queer, Trade Queen, soundtrack
Language other than English:	German
Publisher:	Intellect
ISSN:	2042-7824
Last Modified:	20 Feb 2024 16:15
URI:	https://orca.cardiff.ac.uk/id/eprint/140530

Actions (repository staff only)

Edit Item