Abstract

This article addresses the neglected area of pre–King Kong sound film scores. Though King Kong is often said to “begin” sound film music, many of its prominent techniques—including the drift of music from diegetic to nondiegetic terrain and the connection between music and otherworldly environments—had their roots in prior sound films.

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Additional Information

ISSN
2578-4919
Print ISSN
2578-4900
Pages
pp. 1-25
Launched on MUSE
2013-10-18
Open Access
No
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