By Jason Duncan
From Chaplin's impressive use of Wagner within the Gold Rush to the Bach chorale ultimate Scorsese's on line casino, classical tune has performed a desirable function in video clips. Dean Duncan presents a clean severe survey of the aesthetics of classical track in movie. Exploring tensions among excessive artwork and advertisement tradition, Duncan examines how administrators quote issues and classical passages in genres starting from the Soviet avant garde to Hollywood romances. Drawing on movie thought, musicology, and cultural feedback, he clarifies the connections among very diverse paintings kinds.
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Extra info for Charms that Soothe: Classical Music and the Narrative Film (Communications and Media Studies, No. 9.)
Example text
46 This strategy is of course familiar from the writings of Andre´ Bazin. Bazin felt that, though medium specificity (Rudolf Arnheim, the Soviets) had been important at one point, the cinema was mature enough to stop having to separate itself from the other arts. He allowed for the occasional subordination of cinematic impulse to a preexisting text, sensibility, or philosophy. 47 The implications for considering classical music in film in this way are obvious. Lewis and Bazin bring us to other complementary strategies.
On unemployment and other related issues see also Chanan, 1995, 82–86. 35. Thomas, 1979, 7. 36. For the advocates’ view, see Thomas, 1973, 1979, Limbacher, 1974, Bazelon, 1975, Prendergast 1992. 37. Franz Waxman, in Thomas, 1979, 55. See also British film composer Clarence Raybould, quoted in Prendergast, 1992, 20. 38. Quoted in Brown, 1994, 291. In contrast to this overwhelming rejection Brown (1988, 177–80) briefly discusses a strain of acceptance for this music, continuing from silent practices well into the sound period.
31 Jerry Goldsmith comments on a different example of the same problem. I remember seeing Stanley Kubrick’s 2001: A Space Odyssey and cringing at what I consider to be an abominable misuse of music. I had heard the music Alex North had written for the film. . It is a mistake to force music into a film, and for me 2001 was ruined by Kubrick’s choice of music. 32 Goldsmith is addressing the familiar problems of appropriateness, the need for music to support images, the ambiguity of familiar music, which ambiguity is taken to be negative.
