This chapter studies James Cameron's Titanic (1997). Titanic characterises the sea as a wilderness where both the masculine and the feminine are set in opposition to each other, and where the unconscious forces of nature challenge the conscious forces of civilisation, gender, and class. Music assumes a particularly powerful role in the film, primarily the nondiegetic score by James Horner, but also the diegetic music that reinforces class distinctions: the ‘polite’ music of the upper-class spaces, and the fiddle and accordion music of the working-class people. Critically, Titanic furthered Cameron's project of developing digital visual effects not only for the purpose of spectacle, which is important to his cinema, but also in terms of the more subtle applications of the available technology.
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