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Hymns for the FallenCombat Movie Music and Sound after Vietnam$
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Todd Decker

Print publication date: 2017

Print ISBN-13: 9780520282322

Published to California Scholarship Online: September 2017

DOI: 10.1525/california/9780520282322.001.0001

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PRINTED FROM CALIFORNIA SCHOLARSHIP ONLINE (www.california.universitypressscholarship.com). (c) Copyright University of California Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CALSO for personal use.date: 27 September 2021

Elegies

Elegies

Chapter:
(p.212) 10. Elegies
Source:
Hymns for the Fallen
Author(s):

Todd Decker

Publisher:
University of California Press
DOI:10.1525/california/9780520282322.003.0011

Oliver Stone’s Platoon (1986) introduced a new sort of movie music resounding across Hollywood war films for the last thirty years: the elegiac register. Composer Samuel Barber’s Adagio for Strings, heard repeatedly in Platoon, proves the musical source for this slow, strings-only, contrapuntal, harmonious, sad, and mournful music. This chapter describes this new sort of movie music in musical terms and identifies moments in later films when composers model their original scores directly on Barber’s Adagio. Film form often follows musical form when elegiac music is used. Multiple scenes from combat films are described visually and sonically, showing how the elegiac register has been put to varied ends: to foster reflection in combat film audiences, to put a pause on the action, and, most significantly, to frame the repeated images of dead and injured American soldiers’ bodies which lie at the heart of the cultural work done by serious war films in the post-Vietnam era.

Keywords:   Platoon, Oliver Stone, Samuel Barber, Adagio for Strings, elegiac register, film form, soldiers’ bodies, post-Vietnam era, film music

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