>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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