Shades of grey

suspense, subjectivity and the soundtrack in 'Notorious'

Research output: Chapter in Book/Report/Conference proceedingChapter

Abstract

Analysis of Roy Webb's musical score for the 1946 film Notorious, directed by Alfred Hitchcock. The chapter discusses the musical construction of suspense via the articulation of an unusual level of subjectivity - a subjectivity relating both to the characters and to the cinema audience.
Original languageEnglish
Title of host publicationCinemusic? Constructing the Film Score
EditorsCooper David, Fox Christopher, Sapiro Ian
Place of PublicationCambridge
PublisherCambridge Scholars Publishing
Chapter8
Pages113-125
Number of pages13
ISBN (Print)1847185932
Publication statusPublished - 2008

Fingerprint

Subjectivity
Soundtrack
Shade
Suspense
Cinema
Articulation
Alfred Hitchcock
Musical Score

Cite this

Haworth, C. (2008). Shades of grey: suspense, subjectivity and the soundtrack in 'Notorious'. In C. David, F. Christopher, & S. Ian (Eds.), Cinemusic? Constructing the Film Score (pp. 113-125). Cambridge: Cambridge Scholars Publishing.
Haworth, Catherine. / Shades of grey : suspense, subjectivity and the soundtrack in 'Notorious'. Cinemusic? Constructing the Film Score. editor / Cooper David ; Fox Christopher ; Sapiro Ian. Cambridge : Cambridge Scholars Publishing, 2008. pp. 113-125
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Haworth, C 2008, Shades of grey: suspense, subjectivity and the soundtrack in 'Notorious'. in C David, F Christopher & S Ian (eds), Cinemusic? Constructing the Film Score. Cambridge Scholars Publishing, Cambridge, pp. 113-125.

Shades of grey : suspense, subjectivity and the soundtrack in 'Notorious'. / Haworth, Catherine.

Cinemusic? Constructing the Film Score. ed. / Cooper David; Fox Christopher; Sapiro Ian. Cambridge : Cambridge Scholars Publishing, 2008. p. 113-125.

Research output: Chapter in Book/Report/Conference proceedingChapter

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Haworth C. Shades of grey: suspense, subjectivity and the soundtrack in 'Notorious'. In David C, Christopher F, Ian S, editors, Cinemusic? Constructing the Film Score. Cambridge: Cambridge Scholars Publishing. 2008. p. 113-125