Music in Scorsese films Essay examples

2920 Words Mar 8th, 2014 12 Pages
2) For Martin Scorsese, popular music in films ‘doesn’t have to serve simply as mood music or be an unimaginative device for establishing a time period.’ (Romney & Wootton, 1995: 1)Taking this as a starting point, discuss the use of popular music in either one or two films or the work of one film director.
I will be looking at the films of Martin Scorsese regarding his statement that popular music in films ‘doesn’t have to serve simply as mood music or be an unimaginative device for establishing a time period.’ ’ (Romney & Wootton, 1995: 1) I believe that believe he practices what he preaches through this statement in his work. I will be analysing aspects in his work whereby the music works on a deeper level than just as a mood
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Later we see him holding a human severed hand while complaining to his muse about her going to choir practice all the while another Stones track plays dietetically. This technique of suturing the energy in the scene of the usually contrasting acts (sex and violence) is useful a tool used by directors to smoothly transition images often in a montage, but here it is used more creatively to connote more about Frank in a more cleverly constructed method.
Frank’s home life is represented as a contrast to his business and criminal activities. After the confrontation with Bill in the bar he is seen at home and a classical track with a tragic tone to it creeps in over the Stones track and takes dominance, here we cannot tell if the music is diegetic or not as we are taken to and from the scene in a non linear narrative jump breaching the wall of day and night, we get the impression Frank is talking about what happened earlier that day. Before the Stone’s song is completely silenced as French and Frank talk about one another’s loyalty and about the time when French had to kill his wife for being disloyal, to then being interrupted by Frank’s muse telling asking them “do you two ever shut the fuck up” showing disrespect in a dysfunctional home life. This use of the tragic classical track and selective and reflective dialogue connotes to the audience a side of frank

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