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Working with Hitch

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Although Alfred Hitchcock's 1929 film Blackmail was released in both sound and silent versions, it is the sound version that is most familiar to modern audiences. Composer Neil Brand was commissioned to provide a score for the silent version and in this essay he reflects on the problems and the pleasures of creating a score that can reach modern audiences and enhance the intensity and the ambiguity of Hitchcock's masterpiece.
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Keywords: Alfred Hitchcock; Bernard Herrmann; Blackmail; Miklos Rozsa; music for silent film

Document Type: Research Article

Publication date: 2010-07-01

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  • The Soundtrack is a multi-disciplinary journal which brings together research in the area of music and sound in relation to film and other moving image media. A complex cultural, technological, industrial and artistic phenomenon, sound-with-moving image is a rich area for analysis, investigation and speculation. We encourage writing that is accessible to audiences from a diversity of intellectual backgrounds and disciplines as well as providing a forum for practitioners. The Soundtrack's aim is to nurture this new and expanding area of academic investigation in dialogue with soundtrack producers of all kinds.
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