“No Time, Make, or Reason”: The Affective Forms of Portishead’s “Only You” Music Video

Sigmund Freud famously distinguished normal mourning and pathological melancholy by the affects’ duration and persistence. This temporal perspective paves the way for reading affect beyond its expressivity and considering it a question of form. In the article, this radical formalist approach is use...

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Bibliographic Details
Main Author: Klaudia Rachubińska
Format: Article
Language:English
Published: Institute of Art of the Polish Academy of Sciences 2023-09-01
Series:Kwartalnik Filmowy
Subjects:
Online Access:https://czasopisma.ispan.pl/index.php/kf/article/view/1807
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author Klaudia Rachubińska
author_facet Klaudia Rachubińska
author_sort Klaudia Rachubińska
collection DOAJ
description Sigmund Freud famously distinguished normal mourning and pathological melancholy by the affects’ duration and persistence. This temporal perspective paves the way for reading affect beyond its expressivity and considering it a question of form. In the article, this radical formalist approach is used to examine the way depressive affect manifests itself in the structure of the music video to Portishead’s Only You (dir. Chris Cunningham, 1998), in particular concerning tempo and rhythm. Eugenie Brinkema’s remarks on grief as an affective form marked by heaviness and inertia serve as the basis for analysing tempo. The exploration of rhythm is rooted in Peter Kivy’s assertion that reading musical expression is mediated by understanding the affective properties of the human voice. This makes way for applying Julia Kristeva’s concept of the depressive discourse, understood as a set of particular speech patterns and qualities indicative of depression/melancholy.
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spelling doaj.art-a50618dd115444e5b50f4203cc2332f42023-09-27T08:02:51ZengInstitute of Art of the Polish Academy of SciencesKwartalnik Filmowy0452-95022719-27252023-09-0112310.36744/kf.1807“No Time, Make, or Reason”: The Affective Forms of Portishead’s “Only You” Music VideoKlaudia Rachubińska0Institute of Art, Polish Academy of Sciences Sigmund Freud famously distinguished normal mourning and pathological melancholy by the affects’ duration and persistence. This temporal perspective paves the way for reading affect beyond its expressivity and considering it a question of form. In the article, this radical formalist approach is used to examine the way depressive affect manifests itself in the structure of the music video to Portishead’s Only You (dir. Chris Cunningham, 1998), in particular concerning tempo and rhythm. Eugenie Brinkema’s remarks on grief as an affective form marked by heaviness and inertia serve as the basis for analysing tempo. The exploration of rhythm is rooted in Peter Kivy’s assertion that reading musical expression is mediated by understanding the affective properties of the human voice. This makes way for applying Julia Kristeva’s concept of the depressive discourse, understood as a set of particular speech patterns and qualities indicative of depression/melancholy. https://czasopisma.ispan.pl/index.php/kf/article/view/1807griefmelancholyaffecttemporal structuresradical formalism
spellingShingle Klaudia Rachubińska
“No Time, Make, or Reason”: The Affective Forms of Portishead’s “Only You” Music Video
Kwartalnik Filmowy
grief
melancholy
affect
temporal structures
radical formalism
title “No Time, Make, or Reason”: The Affective Forms of Portishead’s “Only You” Music Video
title_full “No Time, Make, or Reason”: The Affective Forms of Portishead’s “Only You” Music Video
title_fullStr “No Time, Make, or Reason”: The Affective Forms of Portishead’s “Only You” Music Video
title_full_unstemmed “No Time, Make, or Reason”: The Affective Forms of Portishead’s “Only You” Music Video
title_short “No Time, Make, or Reason”: The Affective Forms of Portishead’s “Only You” Music Video
title_sort no time make or reason the affective forms of portishead s only you music video
topic grief
melancholy
affect
temporal structures
radical formalism
url https://czasopisma.ispan.pl/index.php/kf/article/view/1807
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