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Conclusion
- University of Wisconsin Press
- Chapter
- Additional Information
197 Con clu sion It seems ap pro pri ate at this point to offer some con cise re flec tions on and ques tions about present Hol ly wood film scores. How Has Neo clas si cism In flu enced the Music Style in Con tem po rary Cin ema? As pre vi ously ex plained, the im pact of neo clas si cism was quite lim ited. Jeff Smith stated: “And de spite a major re vi val in the Korngold-styled scores of John Williams, Romanticism’s hold on film scor ing was fur ther weak ened by the in cor po ra tion of rock, folk, and soul ele ments in the 1960s and 1970s, and elec tron ics, mini mal ism, and even New Age ele ments in the 1980s. By the 1990s, Romantic-styled film music was still being com posed, but it was merely one sty lis tic op tion among many.”1 Laur ent Jul lier iden tifies in what he calls “film-concert” a pre dom i nant char ac ter is tic of con tem po rary cin ema, which con sists in “the pre vail ing of the sound di men sion over the vis ual one: the sound track em braces the viewer and oc cu pies the fre quency spec trum al most en tirely; com ing out from loud speak ers, the sound track plunges the au di ence into a sound at mos phere from which it is im pos sible to es cape.”2 Contrary to what could be ex pected, though, the role of music in the con tem po rary Hol ly wood “film-concert” is any thing but dom i nant. Music is un doubt edly found in large quan tities, but it is given a minor role, mostly used as a mere kind of binder of or sup ple ment to the sound-effect track. Dur ing the clas si cal pe riod, the sound-effect track was the third ele ment of the sound track, less im por tant than di alogue and music, since mo nau ral 198 • Conclusion tech nol ogy and an a log i cal systems made it in fea sible to have many tracks si mul ta ne ously in the sound mix.3 In con tem po rary cin ema, how ever, the soundeffect track holds a prom i nent po si tion in the sound de sign. This su pre macy is en cour aged by the huge po ten tial of dig i tal pro cess ing and the many tech nol o gies of sound dif fu sion that can create a sur round ing and hyper-realistic aural “super-field” not only in the a ters but also in home the a ters.4 There fore, music it self has mostly been pushed down to the third, low est po si tion in the sound track. The com poser Danny Elf man, whose scores for Bat man (Tim Bur ton, 1989) and Dick Tracy (War ren Beatty, 1990) fol low a neo clas si cal ap proach, is one of those who have com plained about this phe nom e non: “Con tem po rary dubs to my ears are get ting busier and more shrill every year. The dub bers ac tu ally think they’re doing a great job for the music if a cres cendo or a horn blast oc ca sion ally pops through the wall of sound.”5 What Are the Con se quences of Music Being Placed Lower Down on the Agenda in Terms of Film Music Style? Con tem po rary film music is typ i cally lack ing in hues and de tails; its form has be come less struc tu rally solid and less mu si cally inter est ing, and has lost some of the for mal func tions of the pre vi ous styles. In un even com pe ti tion with the sound-effect track and strug gling to re sist its heg e mony, now music con cen trates on the micro-emotive func tion (e.g., creat ing sen ti men tal ism in love scenes or anx iety in hor ror films) and on the tem po ral per cep tive func tion (e.g., in creas ing the per cep tion of fast pace in ac tion scenes through the use of loud...