Terror Tracks - Music, Sound and Horror Cinema - Philip Hayward
Scary Movies, Scary Music: Uses and Unities of Heavy Metal in the Contemporary Horror Film
Terror Tracks - Music, Sound and Horror Cinema - Philip Hayward
Lee Barron [+]
Northumbria University
Lee Barron is a senior lecturer in Media and Communication at Northumbria University. His main research and teaching interests are in the areas of cultural theory,
media and popular culture. His writings have appeared in journals such as Fashion Theory, The Journal of Popular Culture and International Review of the Aesthetics and Sociology of Music.
Ian Inglis [+]
University of Northumbria
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Ian Inglis is a Visiting Fellow in the School of Arts, Design and Social Sciences at the Northumbria University, Newcastle upon Tyne. He has written extensively abut the history, performance and presentation of popular music. His books include Performance and Popular Music: History, Place and Time (2006), Popular Music and Television in Britain (2010) and The Beatles in Hamburg (2012).
Description
One of the most profound developments in strategies of scoring films since the introduction of sound to cinema emerged in the 1970s, when the perennial reliance on the creation of a new, freshly composed, classical film score began to be challenged by a preference for utilizing already existing (popular) musical sources. this chapter looks at the use of Heavy Metal in contemporary films, showing how It is, that music's ability to provide a demonic presence that has made it such a suitable partner for the horror movie.