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|Document Type:||Visual material|
|All Authors / Contributors:||
Abigail Hedderwick; Howard Hill; Gavin Alexander; Jason Wright; Leslie Felperin; ABC-TV (Australia)
|Language Note:||Closed-captioned in English.|
|Notes:||Off-air recording of the ABC-TV programme broadcast 26/11/05, 03/12/50, 06/12/05, 12/12/05, 11/02/06. Copied under Part 5A of the Copyright Act 1968.
Colour recording system: PAL ; Region all.
|Credits:||Directed by Abigail Hedderwick (1,3,5), Howard Hill (4,6) ; research, Sarah Weatherall, Kate McKerrell ; series editor, Jason Wright.|
|Performer(s):||Narrator: Leslie Felperin.|
|Description:||5 videodiscs <1, 3-6> (ca. 250 min.) : sd., col. with b&w sequences ; 4 3/4 in.|
|Contents:||Copyright notice: Commonwealth of Australia. Copyright Regulations. 1969. Warning. [disc 1] episode 1. Love --
[disc 2] episode 2. Suspense --
[disc 3] episode 3. Heroics --
[disc 4] episode 4. Humour --
[disc 5] episode 5.The chase --
[disc 6] episode 6. The independents.
|Other Titles:||Music behind the scenes (Television programme)
Music behind the scenes - heroics.
Music behind the scenes - humour.
Music behind the scenes - love.
Music behind the scenes - suspense.
Music behind the scenes - the chase.
Music behind the scenes - the independents.
|Responsibility:||producer, Gavin Alexander.|
Episode one, Love, looks at how music is used in film to express love, to bring out the tragic in it, and give a hint of sad endings. Includes selected scenes from films like, Romeo & Juliet, Titanic, and Emma. Episode two, Suspense, explores how music is used in film to create suspense. Episode three, 'Heroics', analyses how and why heroes, like James Bond and Superman, are frequently preceded on screen by the sound of their own theme tune. Compares and contrasts scores for fictional heroic characters like James Bond, with those for real life heroes such as Dith Parn in The Killing Fields. Examines how Eastern and Western films have borrowed from each other's conventions of heroic music in films, such as, Crouching Tiger. Includes interviews with amongst others, Ridley Scott, Bill Conti, and Ang Lee. Episode four, Humour, focusses on how music can enhance a narrative to gain the best creative effect for the movie. For example, the conventions of slapstick humour were set with the silent films of Buster Keaton and Charlie Chaplin, accompanied by silly sound effects of bird whistles and drum bangs. Includes film excerpts from Beverly Hills Cop, Nurse Betty, and others.
Episode five, The Chase examines how music is used in films to emphasise a chase scene, illustrated with selected film scenes. Episode six, The independents, is about the collaboration between film directors and composers, working in the independent sector. Discusses the advantages of freedom and room for change, as the independent film-makers are more prepared to take chances and experiment. They are more inventive, innovative and visionary in their search for the most expressive means to illustrate their stories. The main disadvantage for them is budgetary constraints. In the 1960s, the younger generation of film-makers began to make themselves felt in movies. It all started with the film, The graduate, which features the pop sound track by Simon and Garfunkel. Then, Easy rider, a low budget project, whose sound track album became an essential collector's item for any self-respecting young person. Some 20 years later, 'Hip-hop' music was used as background music against a back-drop of housing project in Brooklyn. Many independents are now making films for studios, thereby carrying over the sensitivity, interesting and quirky aspects into film-making and studios, and nurturing innovation.