Music in Epic Film

Stephen C. Meyer is Associate Professor of Musicology at the University of Cincinnati.

Series Foreword

Preface: Epic Genre, Epic Style Stephen C. Meyer

Acknowledgments

Part I: Marketing and Production

1. Branding the Franchise: Music and the (Corporate) Myth of Origin James Buhler

2. Manufacturing the Epic Score: Hans Zimmer and the Sounds of Significance Frank Lehman

Part II: Narrative and Interpretation

3. Topoi and Intertextuality: Narrative Function in Hans Zimmer’s and Lisa Gerrard’s Music to Gladiator Joakim Tillman

4. The Politics of Authenticity in Miklós Rózsa's Score to El Cid Stephen C. Meyer

Part III: Pre-Existing Music and the Epic Style

5. From Authenticity to Anachronism: Pre-Existing Music and "Epic Englishness" in Elizabeth and Master and Commander Alexandra Wilson

6. Records, Repertoire and Rollerball: Music and the Auteur Epic Julie Hubbert

Part IV: Songs and Themes

7. "The epic and intimately human": Contemplating Tara’s Theme in Gone With the Wind Nathan Platte

8. "We’re the real countries": Songs as Private Musical Territories in the Epic Romances Casablanca, Doctor Zhivago, and The English Patient Todd Decker

Part V: Genre and the (Anti-)Epic

9. Inverting the Epic: The Music of Ridley Scott’s Kingdom of Heaven Kirsten Yri

10. The Western as National Epic: Musical Persona and Narrative Distance in High Noon Jordan Carmalt Stokes