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    The Role of Scoring in Films

    Many film composers will say that the best kind of score is one where the audience won’t even really notice. Others like Clint Mansell in a recent interview, thinks that’s completely the opposite, and that film scores should be integrated within a film, that a film would lose a large part of its narrative without it.

    But in the end isn’t it true that a film shouldn’t rely on the score to express its ideas through the visual language of film? Discuss the advantages of the more "invisible" approach and the more integrated approach to film scoring.

    • The best film scores are ones where the characters have their own music when they enter a scene. Like the iconic Darth Vader music. DA DA DA DEE DA. Automatically invokes the feeling of the introduction to an evil presence. Imagine the Lion King without the opening score. Wouldn't be the same. – Munjeera 8 years ago
    • In a tv documentary of composer Aaron Copeland, he said when he did film scores, he musically portrayed the unconscious thoughts of the characters on the screen. One example that was illustrated was in the Heiress, the woman was playing it cool when her boyfriend said he was leaving, but the music had lots of tension in it. – DrTestani 8 years ago
    • This would be a very interesting article to read especially since there are many advantages to both sides. I would love to see if the author ends up ultimately choosing a specific side and why (in reference to a specific movie that may really speak to them). – areej23 8 years ago
    • Would love to see the score of Batman v Superman be discussed as I loved the "in your face" music during fights and the individual theme music for each character. Also, soundtracks? Guardians of the Galaxy, 500 Days of Summer - the tone of these movies were set by their soundtracks and people adore them. – blameshobhon 8 years ago
    • I think the score, i.e. the instrumental music, should be background music which fits seamlessly with what you're watching, thus together with the visual, it creates a multi-sensory experience which would be incomplete without either part. For an example, see any score by Trent Reznor for David Fincher's films. For film soundtracks, however, I feel it's better if these stand out, as they can, as someone above stated, define the film (GotG, Pulp Fiction) – J.P. Shiel 8 years ago
    • Much of this discussion should revolve around the source of music chosen for a film and the way in which it fits a film's genre, form, and style. Diegetic music (that has an onscreen source accessible to the film's characters) adds realism by defining a film's time and place. Non-diegetic music (that has no onscreen source) most frequently defines mood. The use of one or the other (or both) depends on a film's particular characteristics. – ptoro 8 years ago

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    Latest Comments

    I disagree actually, at least for the end of the TV show, the message is very positive, even if it’s presented through a very abrasive series of events leading up to the ending. The message given to viewers at the end though is that one shouldn’t throw their own lives onto other people, but instead realize that they themselves have worth and take charge of their own lives.
    Also the idea that one should connect and relate with others without being afraid of being hurt.

    The reason End of Eva is so bleak is more because Anno lashing back at negative fan reactions to the end of the TV series.

    Neon Genesis Evangelion: Science vs God

    It’s ironic how many people are commenting on Undertale being boring or not as good as other JRPGs that the game homages heavily. I think it’s a fresh take on the JRPG, along with those themes you discussed in the article and interesting metanarrative ideas.

    Undertale and Social Justice Themes: Is "That" A Human?

    I’ve always been interested in the diegesis of sounds and music in film and this is a nice introduction to that concept to those who don’t really pay much attention to details like that.

    Importance of Diegetic and Non-Diegetic Sounds in Film