>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.  (snip)  Any other examples?

>

 

The Coen brothers do this masterfully in a scene from "Miller's Crossing".

Danny Boy is playing on the phonograph to begin with and then grows louder,

loses the "scratchiness" of a record, and moves outside of the house during

the major shoot out sequence.

 

Fiona C. Quick

University of Minnesota

"To What If"

         - A Walk In The Clouds

 

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