Abstract
This article examines the use of music in narrative film as code for geographical location as well as racial and ethnic characterisations. The aesthetic assumptions and mechanisms deployed in film music are explored and their historic precedents identified. Different approaches are considered and their virtues and limitations evaluated in tenns of dramatic function, with particular reference to: contrasting approaches to the representation of Native American Indians; attempts to use ethnically authentic music; the representation of Hispanicity and Englishness; tribal anthems and shared experience.
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