ABSTRACT
Throughout this book, I have made the case that the identifications perceivers engage in depend centrally on music. In any discussion of how films participate in producing identity formations, the challenge is to describe the engagements between films and perceivers. That cannot plausibly be done without examining the score. And when I say “examine the score,” I do not mean, as I have shown throughout the preceding chapters, a simple textual analysis. Rather, any consideration of how scores track identifications must include considerations of both perceiver and music histories.
