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Date: | Fri, 23 Jun 1995 16:20:52 -0400 |
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State University of New York at Stony Brook
Stony Brook, NY 10025
Krin Gabbard
Associate Professor
Comparative Literature
212 749-1631
23-Jun-1995 04:20pm EDT
FROM: KGABBARD
TO: Remote Addressee ( [log in to unmask] )
Subject: Re: Diegetic
Just to expand a little the ongoing discussion of matters
diegetic, I would like to ask my colleagues to help me construct
an informal history of film soundtracks in which diegetic music
seems to become extradiegetic. Fritz Lang does it at the end of
_Blue Gardenia_ with the Prelude and Liebestod theme from
Wagner's _Tristan und Isolde_. The music twice begins
diegetically, on a phonograph and as piped-in music at an airport
restaurant, and is then shifted to the extradiegetic score; in
another case it begins as background music and is subsequently
assimilated as the diegetic sound of a record. It also moves
seamlessly between two diegetic sources, from the airport
speakers to a record-player. Probably a more famous example is
the Rolling Stones record that starts out on a transistor radio
in _Apocalypse Now_ and then "expands" to sound much more like
conventional extradiegetic music. Something very similar happens
with the Johnny Hartman records in _The Bridges of Madison
County_: on at least two occasions they are first heard in thin
sound from a small radio before they suddenly adopt full fidelity
and function extradiegetically. Any other examples?
Krin Gabbard
SUNY Stony Brook
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