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Plundering Cultural Archives and Transcending Diegetics: Mahler’s Music as “Overscore”

Jeremy Barham
Music and the Moving Image
Vol. 3, No. 1 (Spring 2010), pp. 22-47
Stable URL: http://www.jstor.org/stable/10.5406/musimoviimag.3.1.0022
Page Count: 26
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Abstract

Abstract The structural, aesthetic, historical, and cultural implications of the use of Gustav Mahler‘s music in scoring the moving image are examined. Recurrent topics of death, homosexuality, and war, as well as challenges to rigid diegetic distinctions are identified against the backcloth of a comprehensive survey of the screen appropriation of Mahler‘s music.

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