Historically film composers have always complained about how much of their music is frequently lost during the dubbing process, as a result of it being blended or overridden by sound effects and dialogue. There is also a lot of contention over the way temporary music is selected and used within film production in general. This paper will discuss the following positions: 1. The notion that Hollywood film making still largely resembles the Henry Ford “Moving Assembly Line” model. 2. Within the last ten years Hollywood film making has been significantly influenced by the integrated use of music and sound technology. 3. The genre is clearly in a new phase/period where films are being more progressively produced as integrated art forms. Never before has there been such a strong movement by film makers (and agents of the film team) towards supporting an integrative approach in their use of music, sound, voice, text and image.
Click to purchase paper as a non-member or you can login as an AES member to see more options.
No AES members have commented on this paper yet.
To be notified of new comments on this paper you can
subscribe to this RSS feed.
Forum users should login to see additional options.
If you are not yet an AES member and have something important to say about this paper then we urge you to join the AES today and make your voice heard. You can join online today by clicking here.
