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- Most of the time, making films and videos is a collaborative endeavour. Despite the many creative contributions of writers, cinematographers, producers, editors, actors, and others, we too often credit films to the director alone. This habit fundamentally misrepresents the filmmaking process, as film scholars Berys Gaut and C. Paul Sellors have argued. If we want to trace a history of trans and gender variant people's audiovisual creativity, we should look for them both in and beyond the director's chair. (en)
- For this theme, Morley takes a fragment of the opening flute motive of Debussy's 'Prélude à l'après midi d'un faune' [...] and spins it into a majestic, soaring, romantic swing waltz, an amalgamation of her work in French romantic style orchestral scoring and big band swing. Alto sax takes the tune; the surrounding orchestration has a rich, symphonic, romantic, classical Hollywood sound, not unlike the orchestrations Morley did for John Williams. In addition to this mastery of style and technique, the opening I–bVI progression is fresh and contemporary; the 'borrowed' bVI chord had been used in earlier psych rock but would become prominently featured in the 'new wave' popular music of the time.
[...] Morley's handling of 'Kehaar's Theme' and its orchestral accompaniment shows a technique well honed not just from film work, but from years of working in 'light music' where romantic accompaniments and swing tunes were frequently employed. While not an 'easy listening' version of Debussy, 'Kehaar's Theme' nevertheless suggests how one might conceive of such a thing and execute it with finesse. (en)
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