ABSTRACT
Since the late 1970s, one of the most important film scorestyles has been the heavy, Romantic symphonic score withthick instrumentation. The most important careers of the 1980s and 1990s, John Williams’s and Danny Elfman’s, were made almost exclusively on classical scores. Why has classical Hollywood scoring enjoyed such a resurgence? Is that resurgence organized around a particular ideological or subject position? If so, what position(s) and how?
