ABSTRACT
Any film-music theory may encounter some confusion when music is the subject and protagonist of the film, such as a musical, an opera, or a life story of a composer/performer. In such cases, there is an 'image priority switching' where the visual image goes alongside and adheres to the music-image, whereas in other cases the music-image usually follows the visual one. In the musical, time and motion are coordinated to the rhythm of song and dance, with everything subordinated to the principal of spectacle. As stage musicals developed and drastically changed over the years, so did film musicals, only much more so. Eventually there came new film musicals that were originally written for film instead of being adapted from a stage musical. When the life of a composer, singer or a music group happens to be a subject of a film, the music in which the subject is directly involved in may become the Hero of a film.
