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BloodBoal

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Good thread topic. I think it's because the traditional big sweeping love theme come from a historic period that was much more sexist than we are today. Composers that reach back to this era are just doing what composers did in the 1930s and 40s, and there's some sexism inherent in the approach.

The other reason could be that main characters are usually men, and in that sense any costar is only important due to his/her relation to the main character. That's more of a (probably unintentional) sexism on the storymaker's part. Although, that wouldn't explain why (for instance) Short Round gets his own theme but Willie is stuck with the love theme.

It's definitely an unfortunate side of more conservative composers, something that I've been struggling to grapple with recently.

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I've noticed that in 95% of cases, the love theme is also the theme for the female character, while the man is also given his own theme. Indeed, the male character is generally the hero of the story, and so he has his "heroic" theme and the love theme (representing his relation with his loved one) while the female character is only represented by the love theme and nothing more. As if the love she has for the main character is the only thing that defines her as a human being..

I find that to be a clear proof that film composers are true machos that see women as nothing more than persons completely dependent of their male partner and that wouldn't exist if it wasn't for them.

Oh please! This is a result of the screenwriter who wrote the film, not the film composer who is writing the score! He can only score what's on the screen! In a lot of these films, the love interest IS really only defined by her association with the main character. Not the composer's fault!

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Oh please! This is a result of the screenwriter who wrote the film, not the film composer who is writing the score! He can only score what's on the screen! In a lot of these films, the love interest IS really only defined by her association with the main character. Not the composer's fault!

But the composers could try to fix that, yet they don't!

How could they fix it? All a film composer do is help the audience feel an emotion during a scene. If the character doesn't have any scenes written for her that have something to do with something besides the hero, what emotions do you want the composer to make you feel?

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You are looking at it wrong:

Come on! To take indy4's example, Willie has quite a few scenes that aren't love scenes. She would have deserved her own theme!

She does have her own theme, otherwise Williams would have used the love theme from Raiders!

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What scenes specifically in Temple of Doom with Willie have nothing to do with Indy, and would function better with a unique theme playing than non-thematic underscore or the love theme?

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Traditionalists have decried the rise of ambient film scoring, but what they're really railing against is its progressive spirit, its vision of a world free of the patriarchal scaffolding that has shaped the arts for so long. In discarding themes as an organizing communicative idea, modern film composers are urgently working to dismantle a status quo that idolizes the heroism of men at the expense of the personhood of women.

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We composers are just more manly than most. We recognize that the natural order is in fact for men to be at the center of attention, with women only in the periphery as accessories to certain emotional and physical needs, and we are not subject to the modern feeling that it is right and proper to submit to feminism and pushes for equality. And we're always endowed well above average.

 

Now if you'll excuse me I need to go shine my wife's boots.

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It's an interesting observation. There's definitely a clear and somewhat exclusive association between female characters and love themes, although I'm with Jason that it's really just an indication of how those characters are incorporated in the films themselves, rather than a reflection of the composers' attitudes towards women.

But at the same time, how common are character themes, anyway? I sort of feel like with most films, there's just an all-purpose "main theme" that is more or less tied to the main character (usually male) simply because they're carrying the story, and any other themes are less about specific characters and are really there to illustrate the "themes" or ideas in the story e.g. love and romance.

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Max Steiner once proclaimed: "Every character should have a theme." Despite the obsolete sound of this phrase, character themes are still the most common tactic when themes are used in any recurring way in current films.

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It's an interesting observation. There's definitely a clear and somewhat exclusive association between female characters and love themes, although I'm with Jason that it's really just an indication of how those characters are incorporated in the films themselves, rather than a reflection of the composers' attitudes towards women.

Even for Trevor Rabin?

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Gender neutral film scoring. The next logical step in this mad, mad, mad, mad world. :rolleyes:

There is no denying that the tender themes or lyrical themes are most often associated with female characters (we men are such inconsiderate egotistic, brutish clods!) and then those ideas double as love themes in many movies. But there are countless spins on this. Love theme is the main theme and the characters have their own themes, female character has a theme, the male character has a theme and then there is their separate love theme etc.

So I am so glad we have the emancipated Tauriel's theme and the girlish Kili theme in The Desolation of Smaug (see how suavely I brought The Hobbit into this thread). It is the flame that starts the rebellion!

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"No one puts new wine into old wineskins; otherwise the wine will burst the skins, and the wine is lost and the skins as well; but one puts new wine into fresh wineskins." (Mark 2:22)

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And you can't make an omelette without breaking a few heads!


"No one puts new wine into old wineskins; otherwise the wine will burst the skins, and the wine is lost and the skins as well; but one puts new wine into fresh wineskins." (Mark 2:22)

I refuse to believe KingMark said anything of the sort and more so in that hour of the early morn! Or perhaps he was going all philosophical when the wine ran out.

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What scenes specifically in Temple of Doom with Willie have nothing to do with Indy, and would function better with a unique theme playing than non-thematic underscore or the love theme?

Perhaps the deleted scene where Willie runs back to Pankot Palace and bumps into Chatta Lal?

Spare a thought for poor ole Sigourney Weaver. She starred in four films, scored by four different composers, with nary a hint af a "Ripley" theme among them. Shame.

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I don't think Cutthroat Island employs a main theme to its female lead either. I know there is a love theme, but no primary theme for her if I remember correctly. I haven't listened to the score in a long time and don't recall the movie.

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