Soundtrack

 toc =Introduction= The soundtrack of a film can be very powerful; it helps to set the emotive response the director wants from the audiences. Some of the great names of film scores (John Williams, James Barry, Ennio Morricone, Bernard Herrmann) are not household names but their music has been referenced in numerous films and endless episodes of //The Simspsons//.

=Diegetic soundtrack= This is when the soundtrack is part of the world of the film. Usually, the source of the music is a band in the scene, a radio or a television set.

Touch of Evil
These scene is a case study in cinematographic precision. The shot opens with a bomb being placed in the back of a car and set to three minutes. The next three minutes play out in real time without any editing. The music in the scene is diegetic and adds to the suspense, not because it is in itself suspenseful in tone but because it juxtaposes with the tension of the scene.
 * (Dir. Orson Welles, 1958)**

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=Non-Diegetic Soundtrack=

This is when music is edited into the film in the post-production phase of film-making. Usually this is a score written for the film, but often is a piece of music used with permission for the film. The first two examples below use the same piece of music, Mascagni's Intermezzo from //Cavalleria Rusticana//, and achieve interesting effects.
 * Spoiler alert:** the clip from //The Godfather III// is from the end of the film. Do not watch it if you don't want to know the ending.

The Godfather III

 * (Dir. Francis Ford Coppola, 1990)**

In this scene, watch how the music overtakes the scene. Michael Corleone (Al Pacino) has, for the three films in the trilogy, been cold and aloof as the Godfather of a Mafia crime family. While he has not wanted to be involved, his life has inextricably been bound to the fortunes of his family. In this scene, his emotions boil over and the use of Mascagni captures the tone perfectly. media type="youtube" key="xalVJPy9IeE" height="344" width="425"

Raging Bull
The opening scene from the best boxing film ever made. Here, Mascagni's music is deployed to show the grace and beauty of a boxer dancing around the ring in the moments before a bout. This ballet becomes juxtaposed with the brutality that follows.
 * (Dir. Martin Scorsese, 1980)**

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Rocky III

 * (Dir. Sylvester Stallone, 1982)**

Having just viewed the clip from //Raging Bull//, it will be interesting now to see the opening of Sylvester Stallone's opening for //Rocky III//. Ignore the first couple of minutes and pay attention to the section using Survivor's "Eye of the Tiger". Boxing changes here, but the montage and music give us the background for the narrative in this, the third installment of the six-part "Rockiad".

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