day seven

The Wicker Man, 1973, Dir. Robin Hardy

     As the 1960s progressed, a major transition developed within American film studios. Big-name studios fell to their demise as the traditional studio structure was inevitably abandoned for smaller, independent studios. These independent studios were sporadically established across the United States and were tailored towards the styles of directors and auteurs. Actors and composers were not contracted to these studios and had the ability to freelance from one to the next. Throughout this transition period, innovation and risks were taken as popular songs were unexpectedly integrated into films. This incorporation was highly marketable towards the studio’s target audience, as many viewers proceeded to purchase the film’s soundtrack. This idea of integrating popular music into films never ceased in popularity and proceeded into the 1970s with the film, The Wicker Man.

     The first accompaniment of music in the film occurs after Sgt. Howie was retrieved from his plane by a local in a row boat. As another local rides his horse past, pop music with lyrics is presented fades into the scene non-diegetically. Although I was unable to decipher the words, I was taken by surprise at how conflicting the music was in correlation to the objective of the film thus far; counterpoint was being utilized with a joyful melody, whereas the mood set forth by Sgt. Howie was solemn as he began his search for a missing child.

     As the film progressed, the sensation of counterpoint was integrated thoroughly; whether it was the young students singing joyously of death and rebirth on a school yard, or the villagers singing blissfully in observance of their holiday as Sgt. Howie was burnt alive as a sacrifice, irony was set forth. Although joyous in presentation, the film is classified as a horror mystery due to the dark undertones that are slowly but surely uncovered, primarily as a result to the films upbeat score and sinister lyrics.

one, John Williams and "The Empire" Strike Back by Kathryn Kalinak

• "'The synthesizer is an extension in musical history the way automobiles were an extension in transportation history," ... the synthesizer has an almost limitless ability to create sound, unique and otherwise, including the ability to duplicate acoustic instruments." (Kalinak, pg. 189)
•  "Williams was, however, the major force in returning the classical score to its late-romantic roots and adapting the symphony orchestra of Steiner and Korngold for the modern recording studio." (Kalinak, pg. 189)
• "There are also important structural characteristics which bind Williams to the classical model: the use of music to sustain unity; a high degree of correspondence between narrative content and musical accompaniment; the use of music in the creation of mood, emotion, and character; the privileging of music in moments of spectacle; a dependence on expressive melody and the use of leitmotifs; and the careful placement of music in relation to the dialogue." (Kalinak, pg. 190)
• Temp tracking: "This is the practice of accompanying the film during the early stages of editing (before the score is composed) with recorded music of various kinds (pop, classical, or even other movie music) to substitute for a score that has yet to be composed." (Kalinak, pg. 191)
• "...Williams' score for The Empire Stirkes Back is steeped in late romanticism: in its expressive use of melody; its exploitation of the effects of instrumentation; its dependence on tonal harmony and especially triadic harmony; and its use of the large-scale resources of the symphony orchestra ... For Williams using a late-romantic sound was :a conscious decision ... music should have a familiar emotional ring so that as you looked at these strange robots and other unearthly creatures, at sights hitherto unseen, the music would be rooted in familiar traditions.'" (Kalinak, pg.198)