caa a22 4500 388112883 CHVBK 20180307125358.0 cr unu---uuuuu 161130e199910 xx s 000 0 eng 10.1017/S0261143000008928 doi S0261143000008928 pii (NATIONALLICENCE)cambridge-10.1017/S0261143000008928 Lapedis Hilary Popping the question: the function and effect of popular music in cinema [Elektronische Daten] [Hilary Lapedis] Claudia Gorbman, in her afterword to Unheard Melodies, looks forward to the ‘new' phenomenon of the increased use of recorded popular music in the movies. She questions whether the contemporary use of popular music is essentially different from its use in the traditional Hollywood musical, wherein conventional practice permits a musical number to disrupt the narrative flow, and answers that ‘a hybrid is emerging, unlike diegetic music which is normally not listened to, and also not as focused as musical numbers issuing from the magic world of the musical' (Gorbman 1987, p.162). Certainly, the music video, as Gorbman admits, in its ‘kaleidoscope of forms' (ibid.) is changing the relationship between visuals and music, so that there is no longer a habitual hierarchy of sound supporting image, or vice versa. It is this shifting relationship and the way in which pop music specifically operates upon the narrative structure of cinema that I wish to explore here. Copyright © Cambridge University Press 1999 Popular Music Cambridge University Press 18/3(1999-10), 367-379 0261-1430 18:3<367 1999 18 PMU https://doi.org/10.1017/S0261143000008928 text/html Onlinezugriff via DOI 1 research-article jats NATIONALLICENCE 856 40 https://doi.org/10.1017/S0261143000008928 text/html Onlinezugriff via DOI NATIONALLICENCE 100 1- Lapedis Hilary NATIONALLICENCE 773 0- Popular Music Cambridge University Press 18/3(1999-10), 367-379 0261-1430 18:3<367 1999 18 PMU CC0 http://creativecommons.org/publicdomain/zero/1.0 nationallicence SWISSBIB 224433881 BK010053 XK010053 XK010000 NATIONALLICENCE NATIONALLICENCE NL-cambridge