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The Cinema of James CameronBodies in Heroic Motion$
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James Clarke

Print publication date: 2014

Print ISBN-13: 9780231169776

Published to Columbia Scholarship Online: November 2015

DOI: 10.7312/columbia/9780231169776.001.0001

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Titanic (1997)

Titanic (1997)

Chapter:
(p.115) Chapter Seven Titanic (1997)
Source:
The Cinema of James Cameron
Author(s):

James Clarke

Publisher:
Columbia University Press
DOI:10.7312/columbia/9780231169776.003.0007

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.

Keywords:   James Cameron, Titanic, James Horner, diegetic score, class distinctions, digital visual effects

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