Alison Tara Walker
Search for other papers by Alison Tara Walker in
Current site
Google Scholar
Towards a theory of medieval film music
Abstract only
Log-in for full text

This chapter highlights the music of four medieval films: the folk-inspired melodies of Brother Sun Sister Moon, the synthesised keyboards of Ladyhawke, the sweeping orchestration of Robin Hood: Prince of Thieves and the rock-and-roll soundtrack of A Knight's Tale. These films use music to bridge a gap between the postmodern and medieval and to add new narrative information that is not present in the films' visual story. Films that are set within the medieval era are examples of medievalisms - post-medieval refashionings of the medieval age, posing as the real thing. Disphasure, then, can be a useful term to describe the ways in which film music plays a unique role in films that endeavour to represent the medieval period. Symphonic music continues to be a popular option for historical films' scores, but today a film's soundtrack is a critical component in the marketing schemes, and music videos for the film.

  • Collapse
  • Expand

All of MUP's digital content including Open Access books and journals is now available on manchesterhive.



All Time Past Year Past 30 Days
Abstract Views 1072 413 15
Full Text Views 68 15 0
PDF Downloads 31 13 0