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 ---- To signoff SCREEN-L, e-mail [log in to unmask] and put SIGNOFF SCREEN-L in the message. Problems? Contact [log in to unmask]