Must you remember this?: Orchestrating the 'standard' pop song in Sleepless in Seattle

Screen

Volumn 41, Issue 3, 2000, Pages 282-298

  Garwood, Ian ^a  

^a NONE

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EID: 77958399557     PISSN: 00369543     EISSN: None     Source Type: Journal    
DOI: 10.1093/screen/41.3.282     Document Type: Article

References (7)

1. The extent to which narrative and number are actually separated is the matter of some debate. See, for example. John Mueller, 'Fred Astaire and the integrated musical'. Cinema Journal, vol. 24. no. 1 (1984).
2. Steve Neale. 'The big romance or something wild?: romantic comedy today' Screen, vol. 33. no. 3 (1992) pp. 284-99, p. 296.
3. Frank Krutnik. 'Love lies: romantic fabrication in contemporary romantic comedy', in Peter William Evans and Celestino Deleyto (eds), Terms of Endearment: Hollywood Romantic Comedy of the 1980s and 1990s (Edinburgh: Edinburgh University Press, 1998),pp. 15-36, p. 25. Krutnik argues that 'true love' for the film's characters in the new romance involves embracing the romantic ideal as a necessary fiction - notions of emotional sincerity are thus bound with a character's acceptance of their own self-deception. Sleepless in Seattle appears to me, however, to be an attempt to reassert the ideal of the 'truly' sincere.
4. Claudia Gorbman, Unheard Melodies: Narrative Film Music (London: British Film Institute, 1987). p. 55.
5. Neaie. The big romance or something wild?, pp. 289-90
6. Claudia Gorbman, in a keynote lecture given to a conference on music in film held at Southampton University in May 1996.
7. Michael Chion (translated by Claudia Gorbman), Audio-Vision: Sound on Screen (New York, Columbia University Press. 1994). p. 172.