A study of the use of pre-existing music in fiction sound film, this thesis fills a gap in the literature by studying pre-existing music as a category of music in film in itself, the premise being that there are conclusions to be drawn about the use of such music that relate to its pre-existing status, regardless of style, genre, and so on. The main questions are as follows: How and why is pre-existing music used in films? What effects can its use have for and on films and their audiences? And what lasting effects does appropriation have on the music? The exploration of these issues draws on concepts and frameworks from fields beyond that of the study of music in film, including literary theory and scholarship on musical borrowing defined more generally, and incorporates discussion of factors such as those of copyright and commerce alongside examination of texts and their effects. The thesis establishes a framework from which future work in the area can more efficiently proceed, and in relation to which previous work can be contextualised. Broadly, pre-existing music is shown to have unique attributes that can affect both how filmmakers construct their works (practically as well as artistically), and how audiences receive them, while film is argued to be a powerful influence in and on processes of musical reception. The thesis is a significant contribution to scholarship on music on film, but can also be seen as a study of the reception of music (both by and through film), and as situated within the fields of scholarship on musical borrowing and musical intertextuality.
| Identifer | oai:union.ndltd.org:bl.uk/oai:ethos.bl.uk:633201 |
| Date | January 2013 |
| Creators | Godsall, Jonathan |
| Publisher | University of Bristol |
| Source Sets | Ethos UK |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
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