SCREEN-L Archives

June 1995, Week 4

SCREEN-L@LISTSERV.UA.EDU

Options: Use Proportional Font
Show Text Part by Default
Condense Mail Headers

Message: [<< First] [< Prev] [Next >] [Last >>]
Topic: [<< First] [< Prev] [Next >] [Last >>]
Author: [<< First] [< Prev] [Next >] [Last >>]

Print Reply
Sender:
Film and TV Studies Discussion List <[log in to unmask]>
Subject:
From:
"Fiona C. Quick" <[log in to unmask]>
Date:
Sun, 25 Jun 1995 17:57:32 -0500
Reply-To:
Film and TV Studies Discussion List <[log in to unmask]>
Parts/Attachments:
text/plain (28 lines)
>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
 
----
To signoff SCREEN-L, e-mail [log in to unmask] and put SIGNOFF SCREEN-L
in the message.  Problems?  Contact [log in to unmask]

ATOM RSS1 RSS2