An exploration of: a) the relationships between image and music, and between music and other elements of the soundtrack; b) various functions of film music through the analysis of selected films (e.g., how music confirms or contradicts visual narratives and how music can support the cinematic construction of gender, class, ethnicity, culture); c) different techniques and aesthetics of selected film music composers and directors (e.g. the Hitchcock/Herrmann collaboration); d) the historical evolution of film music from the silent era through to the present.

On satisfying requirements for this course, students will have gained:

1. Greater awareness of soundtracks, and their interaction with visuals in films.
2. Knowledge of a range of historical approaches to film scoring.
3. Skills and tools for approaching and analysing film music.
4. Skills in analysing film as text via music as narrative device, and as cultural marker.

Close reading/listening excercise (15%, week 5) (LO 1,2,3,4)

Research Essay (35%, due mid semester) (1800 words) (LO 1,2,3,4)

Research Essay (50%, due in examination period) (2200 words) (LO 1,2,3,4)

3.5 hours week classtime (weekly lecture, weekly tutorial, fortnightly 1 hr. seminar, fortnightly 2-hr. screening). Beyond this, students will be expected to spend 6.5 hours/week on independent study (written, web, visual and/or musical materials).

Students are expected to have some technical background in one field (e.g. score-reading, or grasp of technical film terms, but not necessarily both).

Courses counting towards a Film Studies or Musicology major to the value of twelve units, or permission of the Convener.

Electronic readings also will be put on the e-reserve for this course.

Chion, Michel, Audio-Vision: Sound on Screen, Columbia UP, 1994.

Required Reading - a reading brick to be advised.