Pop Music And Modern Cinema Film Studies Essay

In order to to the full appreciate the place that popular music presently occupies within modern film, one must first look back at the way it has travelled in order to get at such a point.

“ Though, at their cardinal degree, two wholly separate mediums of originative look, the historical flights that both movie and popular music have laid out show dramatic and significant similarities to one another impossible to over expression. The generation of both came approximately as a direct consequence of late 19th century technological developments, both preponderantly rely on a new type of mass audience sharing a common involvement, both started with low beginnings as freshnesss to spread out and go some of the largest industries in the universe with prodigious one-year turnovers, both have been approached and consumed from positions that have allowed them to germinate from simple tools of popular and aggregate civilization into illustrations of more high and elect civilization ” . ( Inglis, 2003:1 )

Indeed, from their very construct it has been clear that the two mediums are linked ineluctably to one another, though, throughout the subsequent decennaries of the 20th centaury, the mode by which the subjects and thoughts of the two signifiers have combined and overlapped has been varied.

After the direct anchoring of sound to gesticulate image with The Jazz Singer ( Alan Crosland, 1927 ) the landscape of film in the 1930 ‘s was overcome with ( and in many ways strictly characterised by ) movies centred on immense, luxuriant vocal and dance eyeglassess ( Such as those found in the Fred Astaire and Ginger Rogers vehicles Top Hat ( Mark Sandrich, 1935 ) and Follow The Fleet ( Mark Sandrich, 1936 ) However, it was more frequently the instance with these productions that music be used to supply “ occasional, if of import, interludes “ ( Inglis, 2003:2 )

During the 1940 ‘s vocal and dance Numberss continued to take up the major end product of the Hollywood studio system, nevertheless, they had evolved somewhat more. The music was no longer incidental, alternatively, it become incorporate with the movie and would “ originate of course from the narrative context ” ( Inglis, 2003:2 ) . This signifier of incorporating popular music of the clip with movie continued through the 1950 ‘s ( many popular Broadway musicals such as Oklahoma, South Pacific and The King and I acted as perfect fresh fish for the film industry at the clip as good ) .

Thingss changed somewhat during the 1960 ‘s, with pop stars themselves seeking to go film stars ( an intriguing analogue runs in this respect with the modern desire for dad instrumentalists to obtain the rank of “ movie composer ” seeking artistic virtue by composing original movie specific stuff in a more traditional medium of movie composing, albeit one that frequently retains a dad music outlook, instead than consecutive moving functions, though more on this will be covered in chapter 3 ) , for illustration the landmark “ popular vocal ” movies of the Beatles or the more than 30 Elvis Presley centric musicals that were produced.

Popular music besides started to happen itself widening beyond the confines of the movie musical, an of import point in the history of movie and popular music ‘s dealingss came with Fred Zinneman ‘s 1952 non-musical High Noon. The mark, composed by the classically trained Dmitri Tiomkin was still in the vena of the more traditional school of movie composing, pulling it ‘s influence from the thoughts and workings of classical music, nevertheless, Tiomkin was besides asked to compose the movie ‘s rubrics song, “ Do Not Abandon Me, O My Darling ” in a far more state and western themed manner. The vocal was happened to go a best merchandising hit on the hoarding charts after the movie ‘s release, making an instantaneous symbiotic relationship between the movie and the vocal, this bond helped to market the movie, the audience could non hear the vocal without visualizing the movie and the movie apparently could non be without the vocal. Within the context of the image, the vocal works as a kind of leitmotiv, repeating at cardinal points in the movies narrative to reenforce the determinations and quandaries of the supporter, Will Kane ( played by Gary Cooper ) .

Therefore, the vocal provided the same cardinal constituents that a more classically constructed mark would, but with a new turn. It allowed the movie to link and be known to an audience that may be unfamiliar with it, it provided cardinal narrative cues through out the movie and it ‘s state and western subject amplified and ran analogues with the movie ‘s old West scene.

Get downing with High Noon, movie shapers began to gain the astonishing potency, in both the commercial and artistic sense of the word, that could originate from associating popular music with their movies. The usage of synthesizing popular music to movie ‘s in order to non merely capitalize on the marketable chances, but to besides drive place the subjects, values and general temper of a movie began to truly take clasp of movie shaper ‘s imaginativenesss in the 19080 ‘s. Film ‘s like