"The Best There Ever Was in the Game": Musical Mythopoesis and Heroism in Film Scores of Recent Sports Movies

Scheurer, Timothy E.

doi:10.3200/jpft.32.4.157-167

Cited by 9 publications

(5 citation statements)

References 2 publications

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“…Several similar studies display similar findings . These articles, among others, examine the media that has a major role in the development of sports culture (Pevneva et al, 2019), other perspectives on researching sports films and the spread of icons in media culture (Bauer, 2021), as well as articles that highlight classic sports films from Hollywood's golden age (Scheurer, 2005). However, what attracted the attention of researchers was the scientific work published in 1980 that highlighted and criticized sports-themed films (Sarris, 1980).…”

Section: Resultsmentioning

confidence: 99%

Research and publication trends: Sports branding on the movie

Hafiar

Limilia²,

Prastowo³

et al. 2022

PTVF

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Many films have raised the story of sports as the major story or as the background of a film. However, so far, no research has been obtained that analyzes the mapping of research results related to film and sports. Therefore, this study intends to examine various studies related to film and sports that global researchers have produced. This research uses the bibliometric method. The data source used is the Web of Science, while the tools used to process and display the data are ScientoPy and VosViewer. The results showed that the development of scientific publications starts 2000 to 2021 related to films and sports experienced fluctuating developments. Authors from America and England occupy the top positions for the number of publications. However, in the period 2020 and 2021, researchers from France and Canada are researchers who are more productive in publishing their scientific works. They included most published scientific works related to films and sports in the WoS version of the Social science category. However, Between 2020-2022, more are categorized into the subject of Communication and Film, Radio, & Television. Reference sources widely cited in scientific publications related to film and sports are books by Beeton with the title film-induced tourism (2005) and Crosson's work with the title sport and film (2013). The results of the keyword mapping show that six clusters represent some keywords used by the author in scientific works related to films and sports. In conclusion, sports and cinema research are fully developed in this research.

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Section: Resultsmentioning

confidence: 99%

Research and publication trends: Sports branding on the movie

Hafiar

Limilia²,

Prastowo³

et al. 2022

PTVF

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show abstract

“…A gradual crescendo is employed again, which, supported by the credits that fly past on-screen, possesses spatial resonance, suggesting something dramatic approaching from a distance (Richards 2013). Structurally, the march employs the forceful rhythms, vivid intervallic leaps (differences in pitch) and ascending melodic patterns that frequently characterise heroic action in Hollywood film (Scheurer 2005) (Figure 2). The brass and strings are performed staccato, associated in classical music, especially opera, with masculinity; when the love them enters after the march ('Main Title', 02:21), the orchestra, especially the strings, shift to legato, commonly linked to the feminine (McClary 1991).…”

Section: Supermanmentioning

confidence: 99%

Musical Geopolitics: Masculinity, Nationhood, and the Scoring of Superman (1978–2006)

Kirby

2021

Geopolitics

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This article explores the potential for the field of popular geopolitics of close attention to the form and structure of instrumental film music. Specifically, it analyses the film scores for Superman (1978) and Superman Returns (2006), showing how these, in conjunction with the films' visual components, communicate a series of geopolitical logics and ideas about gender and nationhood. In so doing, this article extends existing concerns in popular geopolitics with music, principally lyrical popular music, contributing to a new research agenda that offers detailed readings of musical scores and notation, informed by semiotic perspectives. It advocates an interdisciplinary approach to the analysis of film music, drawing on research in the rich and expanding field of film music studies. It supplements the close reading of the scores here with an analysis of audience reviews.

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“…As such, this article draws from an interdisciplinary body of literature, principally film music studies (e.g. Scheurer, 1998Scheurer, , 2005Laing, 2007;Cooke, 2008;Griffith & Machin, 2014;Howell, 2015), that has better delineated the components of instrumental film score. Building on these - Griffith and Machin (2014), in particular -this article explores how instrumental film score affects across three registers: the stylistic, the kinetic and the associational.…”

Section: Film Score and The Geopolitics Of Instrumental Musicmentioning

confidence: 99%

Sound and fury? Film score and the geopolitics of instrumental music

Kirby¹

2019

Political Geography

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2016). Of less concern is music. Where music has been addressed, accounts generally consider lyrical rather than instrumental, treating music as another kind of meaning-rich text (Boulton, 2008;Street, 2013;Liu, An & Zhu, 2015). What is sometimes acknowledged in these analyses, but largely unexplored, is the conceptualisation of instrumental music as a mode of communication in itself -able to convey emotion, feeling, and certain understandings of space and place. In this article, an initial sounding of this area is made, focusing on instrumental, diegetic film score (music without lyrics composed to accompany film, which the audience can hear, but the film's characters cannot). 1 Drawing from wider work in human geography that has considered sound from non-representational perspectives, and film music studies, the discussion here broadens understandings of how geopolitical knowledges are produced and communicated.Film score is paradoxical. At one extreme, it is considered a method of supplementing the slower parts of a movie's narrative: "no one notices it, except that something would be missing if it were not there" (Scheurer, 1998, p. 172). At the other extreme, score is seen as central to filmmakingrequired for a great film to be great, and with the ability to save a film that might otherwise fail (Scheurer, 1998). An award for Best Score has been presented at the Oscars since 1935. More popular amongst many audiences than the classical canon, film score has been integrated into the repertoires of many international orchestras, helping to keep orchestras solvent (Kalinak, 2010). The world's leading film composers -such as John Williams, Hans Zimmer, Danny Elfmancommand salaries of up to $2 million per picture, making them competitive with leading actors and directors. In this article, the focus is on Western film score, but scores for non-Hollywood productions, including Bollywood, are becoming increasingly popular globally. Composers such as the Indian, A. R. Rahman, have blurred these divides, scoring productions around the world.Like language, music is built on units, grammars, forms of expression. For Timothy Scheurer, from the perspective of film music studies, these are "aural building blocks that, due to a host of

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"The Best There Ever Was in the Game": Musical Mythopoesis and Heroism in Film Scores of Recent Sports Movies

Cited by 9 publications

References 2 publications

Research and publication trends: Sports branding on the movie

Research and publication trends: Sports branding on the movie

Musical Geopolitics: Masculinity, Nationhood, and the Scoring of Superman (1978–2006)

Sound and fury? Film score and the geopolitics of instrumental music

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