Abstract
Serious screen music studies have been underway for over twenty years, with the analysis and critical interpretation of music's role in audio-visual narratives a key concern. However, the advanced and theoretically grounded tools of music narratology have not yet, on the whole, played a significant role in screen music studies. This paper examines the potential for theoretical cross-fertilisation between these fields. Its analytical discussions of Casablanca and Mystic River draw on theories of agency and expressive structure from scholars including Carolyn Abbate and Robert Hatten, in the context of broader considerations of interpretation, ideology, and narrative.
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