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Berberian Sound Studio – Peter Strickland’s Postmodern Pastiche
Ioana Stamatescu
|
December 2020
Peter Strickland intended
Berberian Sound Studio (2012) as a film tribute to the way analogue sound was created in the 1970s
giallo movies while eschewing a too retro or faithful rendition of the original
[1]. Starting from Strickland’s stated intention, I will explore the ways in which the film qualifies as an affectionate pastiche. I will also take a look at the critique of the genre, triggered by the distance from the original that the pastiche takes.
Strickland’s film, recently adapted for a theatrical representation in London
[2], is about foley artist Gilderoy (Toby Jones), a middle-aged reserved and timid Englishman, who goes to Italy to make the sound effects for a film at a post-production company called Berberian Sound Studio. He soon learns to his dismay that the work he was commissioned to do has nothing in common with the nature documentaries he use