Screening Room最後のfilmは、bandをscreenからremoveするところから始まる
appropriate endingでもある。
Pink FloydのThe WallはRoger Watersのincreasingly personal conceptとして始まり、1979 double albumとなり、enormous stage productionへexpandし、1982 cinemaへAlan Parker throughでarriveした。
obvious filmならPink Floyd performing materialをpreserveできた。
Pink is composite rock star, not literal film biography of Roger Waters
story draws heavily from Waters experiences/obsessions。
dead father becomes first brick before Pink knows he is building anything
war absence foundational。
school sequence turns institutional discipline into industrial processing through Gerald Scarfe imagery
"Another Brick in the Wall Part 2" already one of Pink Floyd biggest singles。
Gerald Scarfe animation isn't illustration department decorating Parker live action
Scarfe already worked with Waters on live stage show。
Alan Parker own account unusually honest about miserable production
directors often soften conflict in official retrospectives。
Bob Geldof works because Pink needs to look exhausted by being watched
Parker chose Geldof after considering actors/other musicians。
Geldof singing "In the Flesh" makes adaptation soundtrack visibly different from album
film contains rerecorded/altered music including Geldof vocals for Pink-associated material。
"When the Tigers Broke Free" exists because cinema required biographical material original album didn't contain same form
Pink Floyd official archive records 1982 single release and explicitly song appeared in movie before later album compilation。
"What Shall We Do Now?" demonstrates reverse: material omitted from LP can become central in stage/film forms
Wall project existed album、concerts、film with material changing medium structure/time。
hotel-room television becomes another wall because mass media can fill silence without company
Pink sits among television images。
fascist fantasy horrifying because Pink imagines rock audience as political mass ready to weaponise
one darkest transformations turns Pink into authoritarian demagogue via deliberately fascist/militaristic imagery。
marching hammers turn personal defensive metaphor into totalitarian logo
Scarfe hammers among most recognisable animated images。
"Comfortably Numb" works differently because famous guitar solo becomes part of body being prepared to perform
record/stage song central already。
drug imagery shouldn't become simplistic diagnosis of Pink
Parker/Cannes summaries describe increasing drug use/psychological deterioration。
animated flowers show sexuality in *The Wall* intimate/threatening simultaneously
Parker calls Scarfe flower animation favourite sequence。
trial makes inner voices theatre because film needs structure capable judging metaphor
near end Pink internal collapse becomes grotesque trial。
film contains little ordinary dialogue because music took functions dialogue normally performs
BFI describes low dialogue/high songs。
Pink Floyd absence separates authorship from representation almost completely
band wrote/recorded much music。
Parker abandoning live footage protects film from compromised concert-documentary hybrid
original stage show visually enormous。
Cannes gave prestige without converting rock film into competition cinema
Cannes officially records Out of Competition 1982。
95-minute runtime concise because source album repetition reorganised visually
1979 double album longer than movie。
movie remains divisive because three strong authors never disappear into one another
Waters concept/screenplay。
Film 100 fitting endpoint because Screening Room has been moving toward question movie makes unavoidable
what happens when music stops being something cinema merely records?
視聴・コレクション上の注意
filmは1982 feature of approximately 95 minutesとして扱う。CannesはOut of Competition、Pink Floyd公式timelineは23 May 1982 Cannes premiere。1979 album、stage production、film audio assemblyをseparateにする。movieにはrerecorded、shortened、newly added material、"When the Tigers Broke Free"などがありLPはframe-accurate soundtrackではない。