Thesis (Ph.D.)--Murdoch University, 2006. / Thesis submitted to the Division of Arts. Bibliography: leaves 252-272.

This thesis explores the role that film genre plays in the construction of, predominantly, Hollywood movie scores. It begins with the simple assumption that each genre has its own set of musical conventions, its signature "paradigm", with the result that Westerns sound different from Horror films, which sound different from Romantic Melodramas and so on. It demonstrates that while this is broadly speaking so, the true picture is more complex, the essentially hybrid nature of most Hollywood films on a narrative level resulting in scores that are similarly hybrid in nature. To begin with, the various functions of film music are described, and that of generic location is isolated as being of key importance. The concept of film genre is then discussed, with particular reference to the notion of hybridity. The substance and sources of the musical paradigms of the Western, Horror film and Romantic Melodrama are described in depth; specific aspects of the War Film, Gangster, Thriller and Action paradigms are addressed more briefly. The thesis concludes with a cue by cue analysis of John Barry's score for Dances with Wolves (1990), demonstrating that while the dominant paradigm the music draws on is indeed that of the Western, the score also incorporates elements from a variety of other generic paradigms, shifts in musical emphasis that are dictated by the changing requirements of the narrative. Film music is shown to be profoundly influenced by film genre, but that the use of generically specific music is as complex and nuanced as cinema's negotiation of genre at narrative level. While genres do indeed have signature musical paradigms, these do not exist discretely, but in constant tension with and relation to one another.

Thesis (M.A.)--University of Massachusetts Amherst, 2008. / Includes bibliographical references (p. 85-93).

Thesis (M.A.)--Ohio University, June, 2004. / Includes bibliographical references (p. 66-71).

Thesis (Ph. D.)--University of California, San Diego, 2000. / Vita. Includes bibliographical references (leaves 254-267).

Thesis (M.A.)--Ohio University, June, 2004. / Title from PDF t.p. Includes bibliographical references (p. 66-71)

Thesis (Ph. D.)--University of Missouri-Columbia, 2000. / Typescript. Vita. Includes bibliographical references (leaves 199-221). Also available on the Internet.

This thesis takes up the genre of the “Asian horror film remake” as a nexus for the illustration of the intersection between two significant theoretical perspectives that inform contemporary film theory: Lacanian psychoanalysis and Deleuzian transcendental empiricism. It employs concepts such as Lacan’s registers of the Real and Symbolic alongside Deleuze (and Guattari’s) theories on the actual present and the virtual past to interrogate terms such as ‘originality’, ‘authenticity’, ‘repetition’, and ‘difference’ in an attempt to account for the role of genre in the production of meaningful reality, both within the bounds of the text and in cultural life more generally. It first deconstructs the term genre as it has been employed throughout classical, structuralist and post-structuralist genre theory, in order to reveal its ephemeral nature, and to show it to be worthy of investigation in its own right as a central component of language, more than simply a critical tool. It goes on to elaborate the contingency of discourse that constructs verisimilitudinous reality, and explicates these ideas through analysis of the Asian horror remake films. It then turns to Lacan’s division between the registers of the Symbolic and the Real in order to explore the function of the repetition that is visible in generic film in relation to the subject’s experience of a coherent and authentic reality. Finally, it proceeds to engage with Deleuze’s ideas regarding virtuality and asignification and argues, with reference to the Asian horror remake, that it is the perpetual tension between sameness and difference that sustains meaningful life. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermartizburg, 2013.

Thesis (M.A.)--Carleton University, 2004. / Includes bibliographical references (p. 115-117). Also available in electronic format on the Internet.

Thesis (M.A.)--Carleton University, 2004. / Includes bibliographical references (p. 130-132). Also available in electronic format on the Internet.