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Marnie (1964)

there is more variation of material than one imagines. In Marnie, the degree of correspondence of leitmotif and image is beyond Herrmann’s norm, and makes the music seem extremely –​almost untenably –​ repetitive.16 In other words, they remade the ‘score’ as a recording through removing one of its key characteristics: its repetition. In a way, Herrmann’s score ought to be understood as ‘disciplined’ austerity, rather than self-​indulgent free-​ ranging flourishes. Artistic plagiarism and authorial presences It is perhaps not difficult to characterise the Marnie score

in Partners in suspense