ABSTRACT
This chapter suggests that considerations of affect can be woven into the interpretive fabric of analytical approaches that continue to be concerned, for equally legitimate critical and indeed political reasons, with narration and other forms of representation. A grasp of narratological fundamentals can assist students of screen music in various ways, and scholarship in the area offers a range of valuable tools. The screen music literature has long been adept at theorizing and analyzing the ways in which scoring helps to construct experiences of audiovisual narrativity. The most important scholarship on affect, music, and audiovisual media is somewhat revisionist. Music absents itself entirely from the trial, prison, and execution sequence, returning only at the end at which point a trail of musical tears weeps effusively, but also somewhat redundantly. For screen-music critics, too much representation has arguably been a bad thing. Preisner's music, ironically, then became the murderer in Kies lowski's follow-up to the Decalogue series.
