This course is available through clearing
BA Drama and Film Studies / Course details
Year of entry: 2021
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Course unit details:
A Score is Born: History and Ideology in Hollywood Film Music
|Unit level||Level 2|
|Teaching period(s)||Semester 1|
|Available as a free choice unit?||No|
This course explores the use of music in Hollywood Cinema up to the present day. Our focus will be on how music has worked to both support and undermine the dominant ideology of Hollywood Cinema. We will discuss the concept of the Classical Hollywood Score and how it has functioned in partnership with the Classical Hollywood Narrative. Key developments and composers in Hollywood film music will be studied and particular emphasis will be given to the themes of gender and African American music. Case studies include Fantasia, The Adventures of Robin Hood, Vertigo, Odds Against Tomorrow, 2001: A Space Odyssey, Do the Right Thing and The Empire Strikes Back. Students will be encouraged to work on a piece of music editing to the film of their choice in the final assignment. You do not need to be a musician to do this course! The emphasis will be on music's ideological function rather than musicological analysis.
DRAM10031: The Art of Film
Any L2 core Drama module – Practitioners in Context 1; Practitioners in Context 2; Screen, Culture and Society
- to explore the development of film music in Hollywood cinema
- to develop awareness of the semiotic function of film music and how it can be put to ideological use
- to encourage students to apply an awareness of the necessary aesthetic strategies and ideological implications involved in using music for their own practical work
Knowledge and understanding
demonstrate awareness of the principles of the classical Hollywood score and how certain films have challenged and subverted them
identify and describe the way in which music functions ideologically in terms of race, gender and sexuality
show familiarity with the style and function of key composers and idioms (particularly Bernard Herrmann, Erich Wolfgang Korngold and the use of African American and atonal music in film)
show awareness of and be able to account for any social and historical factors that contribute to the development of film music
translate an awareness of film music into individual research for seminars, essays and practical projects
Critically analyse and interrogate films, scores and related sources (posters, trailers, reviews, industry documents and soundtrack recordings)
Contextualise historically films, scores and practitioners, and to draw on contextualisation to develop understanding
Critically evaluate a series of films, scores, practitioners and genres in relation to key moments of socio-political change in relevant territories
Synthesise theoretical terms and concepts and apply these to analysis, argument and creative practice
Research academic and non-academic materials, and evaluate the effectiveness of these materials as supporting evidence for individual essays, seminar presentations and creative projects
Plan, undertake and evaluate independent critical and creative work
Use relevant software to collect, compile and present audio-visual material for presentations and remix projects
Communicate research material both verbally, audio-visually and in writing
Develop and/or acquire skills in digital editing
Transferable skills and personal qualities
- demonstrate an ability to communicate effectively with others about intellectually demanding concepts, topics, materials
- demonstrate an ability to draw with accuracy, focus, detail and precision on complex materials in independent work
- demonstrate an ability to effectively present – through discussion and in writing – complex topics, drawing convincingly on oral, written and audio-visual media as appropriate to the topic
- Employability skills that students can expect to gain from successful completion of this module include: ¿ a good level of critical thinking and problem-solving skills ¿ an ability to develop detailed, planned and multi-layered approaches to tasks ¿ an ability to work productively as part of a group and independently in learning environments that present complex challenges ¿ an enhanced ability to effectively adapt self-presentation to different audiences/contexts, especially when communicating complex topics
|Final essay or practical project (audio-visual remix)||60%|
Formative or Summative
Seminar presentation - oral
Essays – oral and written
Formative and summative
Practical project – oral and written
Formative and summative
Consultation on essays and practical projects - oral
Brown, Royal. 1994. Overtones and Undertones: Reading Film Music. Berkeley and Los
Angeles: University of California Press.
Butler, David. 2002. Jazz Noir: Listening to Music from Phantom Lady to The Last Seduction.
Cooke, Mervyn. 2008. A History of Film Music. Cambridge: Cambridge University Press.
Cooke, Mervyn and Ford, Fiona (eds). 2016. The Cambridge Companion to Film Music. Cambridge: Cambridge University Press.
Gabbard, Krin. 1996. Jammin’ at the Margins: Jazz and the American Cinema. Chicago: The
University of Chicago Press.
Gorbman, Claudia. 1987. Unheard Melodies: Narrative Film Music. London: British Film Institute.
Kassabian, Anahid. 2001. Hearing Film: Tracking Identifications in Contemporary
Hollywood Film Music. London and New York: Routledge.
Ramsey, Guthrie. 2003. Race Music: Black Cultures from Bebop to Hip-Hop. Berkeley: University of California Press.
|Scheduled activity hours|
|Practical classes & workshops||33|
|Independent study hours|
|David Butler||Unit coordinator|