Cinema Journal (2008) - A Lotta Night Music: The Sound of Film Noir

Details

• article: A Lotta Night Music: The Sound of Film Noir
• author(s): Richard R. Ness
• journal: Cinema Journal (01/Dec/2008)
• issue: volume 47, issue 2, pages 52-73
• DOI: 10.1353/cj.2008.0011
• journal ISSN: 0009-7101
• publisher: University of Texas Press
• keywords: 1940-1949, Alan Parker, Alexander Korda, Alfred Hitchcock, Bernard Herrmann, Cahiers du Cinéma, Changes, Dimitri Tiomkin, Dramatic arts, Elisabeth Weis, Film, Film & stage music, Film genres, Film noir, Franz Waxman, George Sanders, Henry Mancini, Hitchcock's Music (2006) by Jack Sullivan, Jack Sullivan, Jazz, Joan Copjec, John Williams, Joseph Cotten, London, England, Michel Chion, Miklós Rózsa, Motion pictures, Music, New York City, New York, Nostalgia, Otto Kruger, Peter Bogdanovich, R. Barton Palmer, Raymond Chandler, Raymond Durgnat, Rebecca (1940), Richard Ness, Robert Altman, Roy Webb, Royal S. Brown, Santa Rosa, California, Shadow of a Doubt (1943), Sidney Bernstein, Teresa Wright, The Silent Scream: Alfred Hitchcock's Sound Track (1982) by Elisabeth Weis, The Strange Case of Alfred Hitchcock (1974) by Raymond Durgnat, Twentieth Century-Fox Film Corporation, Universal Studios, Warner Bros.

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Abstract

Just as 1940s noir films represented a challenge to the security of home and family, their musical scores defied the emphasis on tonality common in classical Hollywood scoring practices. Scores for the nostalgic second noir cycle are characterized by tension between atonal techniques and the return of more melodic elements.