The non-diegetic fallacy: film, music, and narrative space

Winters, Ben (2010). The non-diegetic fallacy: film, music, and narrative space. Music & Letters, 91(2) pp. 224–244.

Full text available as:

Preview

PDF (Accepted Manuscript) - Requires a PDF viewer such as GSview, Xpdf or Adobe Acrobat Reader
Download (238Kb)

URL:	http://ml.oxfordjournals.org/content/91/2/224.full
DOI (Digital Object Identifier) Link:	http://dx.doi.org/10.1093/ml/gcq019

Google Scholar:	Look up in Google Scholar

Abstract

The pair of terms ‘diegetic^non-diegetic’ has been used by film music theory for over twenty years to describe music’s narrative source in film. While many have recognized the terms to be problematic, or have highlighted film music that appears to exist in a liminal space between the two categories, few have questioned the application of the label ‘non-diegetic’ to the majority of underscoring we hear in the movies. In arguing for a return to the cinematic (rather than narratological) idea of diegesis and emphasizing film’s inherent unreality the article presents a challenge to existing film music theory by asserting music’s important role in constructing narrative space. It is therefore most often to be considered as ‘intra-diegetic’. A new theoretical model is outlined, invoking Daniel Frampton’s concept of the ‘filmind’, and a reading offered of Saving Private Ryan (Steven Spielberg, 1998 ).

Item Type:	Journal Article
Copyright Holders:	2010 The Author
ISSN:	1477-4631
Academic Unit/Department:	Arts > Music
Item ID:	29647
Depositing User:	Benjamin Winters
Date Deposited:	03 Oct 2011 09:42
Last Modified:	23 Oct 2012 15:42
URI:	http://oro.open.ac.uk/id/eprint/29647
Share this page:

Actions (login may be required)

	View Item
	Report issue / request change

Policies | Disclaimer