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The importance of music in film
The importance of music in film
The importance of music in film
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How much does a long-term collaborative process between composer and director influence the establishment of the former as an author? Give examples as appropriate.
In this essay I am going to explore the unique collaboration between director and composer and how much a long-term collaborative process between the two can influence the establishment of the former as an author. An author, in this case, stands for an authority actively shaping the film’s story and message but at the same can be understood as an author of music, I will try to consider both factors. In this process I want to begin with filmmaker’s general relationship to music, then while answering the main question I will give examples of the European collaboration of Theo Angelopoulos and Eleni Karaindrou, focusing on their approach of using music in new ways, as well as examples from the more known collaborations between Alfred Hitchcock and Bernard Herrmann and David Cronenberg’s collaboration with Howard Shore. Furthermore, I am going to include conclusions from my personal experience I have had with my friend and director Nuno Miguel Wong. Concurrently this Essay is not an analysis of the music in the films of the above-mentioned collaborations, but rather focuses on their distinct working relationship and how it might have affected their musical approach and productivity.
To fully understand the relationship between a filmmaker and a composer, it is helpful to take a closer look at the filmmaker’s position towards music in film in general; these can of course differ substantially from one director to another. It seems, one must think, that the complete narrative and emotive potential of film music is not yet fully recognized and appreciated in many film produc...
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...tion, we can try new forms of creating art, while questioning and expanding the very nature of collaboration itself.
Finally, as the mentioned examples show us: composers becoming immersed with a filmmaker at an early stage of their careers can end up to be one of the most natural, harmonic and fruitful artistic relationships for both of them. Hopefully in future more composers can become a more active part in the storytelling as a co-author of the film, while remaining a versatile and original author of music, in other words a great composer.
Works Cited
M. Mera and D. Burnard, European Film Music (London, 2006)
R.S. Brown, Overtones and Undertones: Reading Film Music (Berkeley and Los Angeles, 1994)
N.J. Schneider, Handbuch Filmmusik II. Musik im dokumentarischen Film (Munich, 1989)
M. Schelle, The Score: Interviews with Film Composers (Los Angeles 1999)
...lassical composers, I applaud this man for his creativity, style, but most of all for the great contribution he has made to the music and film world.
Wu, C. Y. (2007). A Study of Joe Hisaishi's Film Music in Hayao Miyazaki's Animation. (Master's thesis, Taipei University of the Arts, Taipei, Taiwan), Available from National Digital Library of Theses and Dissertations in Taiwan. (003604684)Retrieved from http://ndltd.ncl.edu.tw/cgi-bin/gs32/gsweb.cgi/login?o=dnclcdr&s=id="095TNUA5249003".&searchmode=basic
Auteur theory holds that, ‘a director’s films reflect that director’s personal creative vision, as if he/she were the primary author. From the earliest silent films to contemporary times motion pictures have crossed over and both entertained and educated the viewing audience.
Later in their careers, Gustav Holst and Ralph Vaughan Williams gained fame from their unique creativity and modern expression, but the young composers began their careers drawing on influences from family and music exposures. The pre-World War I compositions of Holst and Vaughan Williams evolve as the composers collect life experiences and these influences can be heard in this early music. Yet, the music of both young Holst and young Vaughan Williams also present very original aspects that presage the genius of their later works. Although both musicians were heavily influenced by their upbringings, popular composers, and even each other, it was those very same influences that ultimately led to their distinctive individualities.
The purpose with this paper is to study and compare two different directors, and to compare and contrast the two different works. How are they working with their movies and how do they use mise-en-scene? By studying two different directors that uses different techniques when making movies, we are going to find out how important mise en scene really is, and how it affects the movie.
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