ABSTRACT
The post-existing musical texts might not have changed in any objective, material sense, but that is not to say that the changes they have undergone are any less real or significant. The effects of film on musical reception have been widely acknowledged and debated in previous scholarship. Much of this scholarship has focused on musician biopics and other films concerned largely with depicting musical performances. Films introduce audiences to pieces of music they might not have otherwise encountered. Grossberg stresses that the same music can be defined in different ways by different audiences; in Allan Moore's terms, authenticity 'is ascribed, not inscribed'. Film has assumed an important position as a musical tastemaker within a complex modern ecosystem. Through using music for its own means, the film sets itself up as an intertext to which subsequent listeners to that music may turn in their processes of interpretation.
