![]() ![]() Tarantino is certainly not the first nor the last director to pair brutal images with frothy music for ironic effect: Stanley Kubrick pioneered the practice in A Clockwork Orange (1971), where “Singin’ in the Rain” accompanied a graphic murder. Blonde momentarily walks outside the warehouse where the torture is taking place and the song drops out, the mood is dramatically altered. The music is, in fact, so powerful in creating mood that when Mr. The very elements that make the song sound innocuous-its chirpy melody, conventional rhythms, banal lyrics, and predictable and uncomplicated harmonies-belie the grisly nature of the sequence, dissipating the tension inherent in the situation and replacing it with an uncomfortable irony. What is so interesting about “Stuck in the Middle With You” is its power both to alter that expected mood and to distance us from the violence. A torture sequence would seemingly create considerable tension in an audience forced to watch it. ![]() One of film music's primary functions is to create mood, an important component in how an audience responds. But music is so useful to film because it can do so much simultaneously. Of course, film music doesn’t do all of these things all of the time. While it is doing all of this, film music encourages our absorption into the film by distracting us from its technological basis-its constitution as a series of two‐dimensional, larger‐than‐life, sometimes black‐and‐white, and sometimes silent, images. Film music can unify a series of images that might seem disconnected on their own and impart a rhythm to their unfolding. It can establish setting, specifying a particular time and place it can fashion a mood and create atmosphere it can call attention to elements onscreen or offscreen, thus clarifying matters of plot and narrative progression it can reinforce or foreshadow narrative developments and contribute to the way we respond to them it can elucidate characters' motivations and help us to know what they are thinking it can contribute to the creation of emotions, sometimes only dimly realized in the images, both for characters to emote and for audiences to feel. ![]() Film music, whether it is a pop song, an improvised accompaniment, or an originally composed cue, can do a variety of things. ![]()
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