COMM 231 1st EditionLecture 16Outline of Last Lecture • Overview of film sounds, ranges and typesOutline of Current Lecture • Music and/ in film• Collaboration with music composers• Function of music• Musicals• Other typesMusic and/in filmConvey meanings (with lyrics, lyrics will be quite literal)Juxtaposition of music and images (images become less ambiguous) often in music videos and commercialsToo Literal? (some people agree, direct our emotions too much)Retain Integrity (music should retain its own integrity, has its own role in film)Descriptive (e.g. mickeymousing, extra-diegetic, which is a musical cue or source that’s coming out of emotion)Collaboration with music composersTranslate source drama into musicContribute musicAfter the fact musicOriginate *some will collaborate throughout the production, some composers will do it all when the film is done*Neil Young, composer of Dead Man, composed all of it after the movie was finishedFunction of musicOverture (meant to situate us)Orientation (tells us the location and class of the film)ForeshadowingInternal States (conveys sense of internal state of character)Music and character John Williams (composer) made Darth Vader’s leitmotif in Star WarsHis leitmotif is not as dark during Darth Vader’s taking off of his mask as it is throughout the movieMusic and dramatic intensityParallel and counterpointclip from The Good, The bad and the uglyintense build upFilm MusicalsRealist (have production numbers that are dramatically plausible)A Star is BornNew York, New YorkMoulin RougeOnceThe Sound Of MusicFormalist (makes no pretense of realism)ChicagoDancer In The DarkAn American In ParisAcross the UniverseMixDreamgirlsSingin’ in the rainRock of AgesMusic and FilmMusical Biographies Musical Documentaries (like Katy Perry’s Part Of Me)Concert moviesFilm OperasAnimated Musicals (Lion King, Aladdin)Films heavily relying on music (School of
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