ABSTRACT
The aesthetic and production blueprint of what Kathryn Kalinak called “the classical film score” (1992) looked like it was becoming outmoded by the 1960s but in the wake of Star Wars (sometimes now known as Episode 4, 1977) and its sequels, it returned with a renewed vigour. While the principles of musical accompaniment may have remained the same, certain aspects were changed. Perhaps the most notable development was that the scores were a more featured and prominent component of production values. This chapter will illustrate these ideas in relation to Danny Elfman's scores for Tim Burton's Batman (1989) and Batman Returns (1992).
