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 a 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 synthesized 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.
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callSimilar Papers
Disclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
