Monsters, Meaning, and the Music of Chopin in American Horror Cinema of the 1930s and ’40s
Bibliographic Data
| ID | 21444903 |
|---|---|
| Authors | Sarah Reichardt Ellis (0000-0001-7478-3448, University of Oklahoma), Michael Lee (0000-0001-7538-0720, University of Oklahoma), Mike Lee (0000-0003-2222-3670, University of Oklahoma) |
| Year | 2020 |
| Volume | 39 |
| Issue | 1 |
| Pages | 24-41 |
| Publication date | 2020-01-02 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Journal of Musicological Research (JOURNAL) |
| Journal identifiers | ISSN: 0141-1896 • E-ISSN: 1547-7304 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/01411896.2020.1713702 |
| OpenAlex | W3004178932 |
| Language | EN |
Classic Hollywood horror films, even when produced at rival studios, demonstrate a surprising degree of consistency in their use of the music of Frédéric Chopin as a musical signifier. While as a general rule in these films conflicted selves are on display, Chopin’s music overflows one hermeneutic potential to embrace others necessary to each narrative. An investigation into how Chopin’s music functions in the diegesis of three films—Dracula’s Daughter (1936), I Walked with a Zombie (1943), and The Amazing Mr. X (1948)—examines how the composer’s music works to enrich the meaning of each of the films
Aesthetics · Art · Art history · Dracula · Hollywood · Literature · Meaning (existential) · Movie theater · Musical · Narrative · Musicology and Musical Analysis · Philosophy · Shakespeare, Adaptation, and Literary Criticism · Theater, Performance, and Music History
| Highly cited | No |
|---|