Andy Newcombe

When creating a film, the filmmaker must choose how to utilise music. The filmmaker will have an intended meaning with their use of music, but they cannot be sure the audience will arrive at the same meaning. Viewing film music through the lens of original film music and pre-existing music, this research answers the question: How do assumptions about the way an audience reads film influence the filmmaker’s use of music?

The methodology employed involves informal, semi-structured individual interviews with filmmakers and audience members. The interviews are used to gauge the intentions and consequences of using original film music and pre-existing music. Two versions of an original short film have been produced as an examination of the filmmaking process and to engage with film audiences. One version of the short film features original film music, while the other features pre-existing film music. Findings reveal that the filmmaker does not consider their role in training the audience to read film music and the audience member does not consciously read film music. Filmmakers are heavily influenced by their own music preferences. For the audience member, it is their previous knowledge and understanding of music prior to watching a film that most influences the way film music changes their reading of the film.

The significance of this research is in understanding how original film music and pre-existing music influence the meaning made from film, from the perspective of both the filmmaker and the audience. The implications of this study are relevant to both academia and the film industry. The way an audience’s previous knowledge and understanding of music influences their reading of film is important to consider when discussing meaning in film. A better understanding of the assumptions about meaning derived from the use of film music is essential for filmmakers when deciding which music to use and how they will implement music in their films.

This thesis contributes to our understanding of the relationship between a filmmaker and their use of music, as well as how the audience’s reading of a film is influenced by both original film music and pre-existing music. Further research may build upon these findings by considering the influence of musical styles and genres, the audience’s demographic, and focusing more closely on filmmaking roles other than the director.