Tanrısever, Benal2016-01-082016-01-082001http://hdl.handle.net/11693/15407Ankara : The Department of Graphic Design and the Institute of Fine Arts of Bilkent University, 2001.Thesis (Ph.D.) -- Bilkent University, 2001.Includes bibliographical references leaves 104-107.This thesis examines the opera-film-music relationship from various points of view. With all the technical advances in the film industry, music for the films is still composed in the late nineteenth century, romantic style. We will try to offer some answers related to this subject. In the three films selected for analysis, music and visuals exit in contrapuntal relationship. Music becomes the third dimension next to words. Francis Ford Coppola is one of the most knowledgeable composers for using music in films. His first film in analysis is Apocalypse Now, where music is utilized as part of the drama. In Godfather, Part III music moves and develops together with the plot. The third film in anaysis is Philadelphia, directed by Jonathan Demme. The music is utilized to intensify emotions and the drama of the film. In all three films, music becomes the narrative of the visuals.111 leaves, illustrationsEnglishinfo:eu-repo/semantics/openAccessMajor and minor tonalitiesThe intensifying of orchestrationThe meter affecting the flow of the pictureThe effect of human voice in film musicML156.4.M6 T36 2001Motion picture music.Moving picture--Music.Operas--Films and video adaptations.Thesis