Film production terminology Production personnel: - Producer (top person/most senior) business aspect such as financing and personnel

l - Line producer - Executive producer - Director in charge of shooting the movie - Editor put in charge of putting together the movie clips o Postproduction o Answer print o Release print Music Personnel and Activities - Computer o Score composed o First cut o Locked out o Spotting - Orchestrator - Conductor - Studio musicians Music personnel and activities contd - Recording engineers o Recording session o Synthesizer programmer - Music editor o Temp track - Scoring mixer - Music executive - Music supervisor - Music preparation staff o Music preparation supervisor o Copyrights o Part extractors o Librarians - Final dubbing - Trailer music music in the trailer is not music from the movie o X-raydog - Genre - Episode plots/ casual plots o Exposition o Complication o Climax o Resolution

Characters o Antagonist o Protagonist Cinematography art of filming movies and moving pictures Mise-en-scene Shot o Pan o Tracking shot Cut Cross-cutting Scene Act (usually 3 or 4) Montage not much (if any) dialogue, music dominated

Music In Film - Diegetic music/source music - Non-diegetic music/underscoring o Adapted score music taken from pre-existing sources o Compilation score silent films - Cue - Wall-to-wall music How film music is used - Opening credits (3 sections) - Closing credits - To suggest time and place - To enhance the emotional impact of a scene (for the audience) - To reflect the emotions of the characters - Pacing - Emphasize story points - To enhance the entrance of characters Some functions of film music - To follow the action (mickey mousing) - To play against the action - Comedy - To suggest something to the audience that the characters are unaware of - To support structural units in the story - Filler music? - Create a sense of unity - Identify characters and their personalities - Removal and reintroduction of music Richard Wagner (1813-1883) - German composer of opera in the nineteenth century - Gesamtkunstwerk total art work

Lietmotives musical theme or motif that is associated with some element in the story, the theme is transformed throughout the opera to changing characters and moods

January 24, 13 Early Film History Thomas Edison (1847-1931) - I wanted to do for the eye what the phonograph did for the ear. - Kinetoscope (1894) - Kinetophone (1895) - Vitascope (1895) Auguste and Louis Lumiere - Moving picture projection (1895) - Play movie on a wall with a projector for a group to see Films with more developed narrative begin to be made - The great train robbery (1903) o Edwin Porter for Edison Early silent film music Live music - Why? - Piano music common - Organ and orchestras increasingly common as silent film era progressed - Film viewing would be only part of the entertainment - Improvisation - Cue sheets - Anthologies The theatre organ - Pipe organ - Developed for film accompaniment - Heavy vibrato - Additional sounds (ie. Percussion, bells) - Wurlitzer o Instrument developed under the auspices of this company beginning in 1910 January 28, 13 Silent Film Scores - The Assassination of the Duke of Guise (1908) o Camille Saint-Saens (1835-1921) - The Birth of a Nation (1915) o Civil war time in the US o Depicts the KKK in a positive light and a heroic organization o Depicts the slaves (blacks) as very barbaric

o Joseph Carl Breil (1870-1926) composer o D.W. Griffith (1875-1948) cutting and camera angles, placing the characters in the spot Drawing on preexisting music

Introduction of sound pictures - The silent film era lasts approximately 30 years (1985-1927) - Experiments with electronically produced sound coordinate with images take place throughout that period - Reasons for the delay in commercially viable sound films - In silent films it didnt matter if there was any background noises - The actors were not given a script they were told what to do in the moment - Images and music working together without the use of dialogue or text and many thought that if dialogue or text would be added it would take away from the art of the film Adding Sound to Picture - Chronophone (1904) France o Phonograph coordinated with moving images o Poor sound quality and synchronization - Vitaphone USA o Phonograph more synchronous then chronophone o Don Juan (1926) Warner Brothers Music by William Axt (1888-1959) No dialogue, only understanding o The Jazz Singer (1927) Starring Al Jolson (Famous singer and performer) Songs were sung live Vitaphone Dialogue Al Jolson used dialogue during the film Wait a minute, Wait a minute, you havent heard nothing yet first line spoken by Al Jolson o Talking films took precedence after the debut of The Jazz Singer Vitapohne - The Jazz Singer (1927) o Al Jolson (1886-1950) o Come coordinated, recorded dialogue o A rapid decline in interest in silent films occurs after the release of this movie - Reasons vitaphone didnt continue to be used very long o Sounds disks fragile, can only use once or twice before needing to be replaced and they were very expensive o Recording difficulties sounds, dialogue, and movements had to be recorded in real time but the projectors and recording equipment was

o Recording devices (video) had to be placed in a sound proof box with a window, the machines got very hot and it was hard for the camera man (machine operator) to stay in the box to record for a long time - Sound in film ultimately more successful o Movie tone (associated with the fox studio) - Warner brothers was near bankruptcy and The Jazz Singer helped WB stay a float Types of Sound Films (Late 1920s, early 1930s) - Underscoring o Very little or no dialogue o City Lights (1931) movie by Charlie Chaplin along with music o Charlie Chaplin (1889-1977) - Cartoons o Very little or no dialogue o Steamboat Willie (1928) Walt Disney - Dialogue o Very little or no underscoring o Dracula (1931) - Musicals/Revues o Immediately popular after The Jazz Singer o 42nd Street (1933) o Busby Berkeley January, 31, 13 Midterm - Material up to today, MDCL 1305, 11:00am, Saturday Integrating of Music and Other Sound Elements King Kong (1933) - Music by Max Steiner (1888-1971) - Techniques discussed o Significant amount of underscoring integrated with dialogue and sound effects o Leitmotifs very common in the 1930s and 1940s - Themes (Beauty and love, Native, courage) the themes create a sense of unity and cohesion o Music to mask to generate fear in audience o Music for comedy o Music for empathy o Music to delineate structure o Mickey mousing TEST #1

February 4, 13 King Kong Classic Hollywood Film Score (1930-19403s) Textbook pg. 125 - Extensive use of music - Exploitation of full range of orchestral colours - Reliance upon the melody-dominated (post) romantic style - Establishment of the principal themes during opening title and credits - Musical support for dramatic moods, settings, characters, and action - Frequent borrowing of familiar melodies - Unity through leitmotifs and thematic transformation Reasons for style of Classic Hollywood Score - Motivated in part by an attempt to find a mass market product with wide appeal o Movie attendance has suffered because of the depression - Avoided full exploration of current musical trends to provide escapist entertainment o The expressivity of romantic music appeals directly to emotions - Many Hollywood composers came from Europe and were well versed in Romanticism - Wagnerian opera an appropriate model for dramatic cinema - Romantic style well established for silent films - Meaning is readily communicated - Popularity of tuneful melody The adventures of Robin Hood (1936) - Score by Eric Wolfgang Korngold (1897-1957) o Techniques discussed Agreement of visual style and musical style Leitmotifs Relationships and characterization Thematic transformation Music playing with action Music playing with the editing - Themes of the Merry men, Robin Hood,