Crimson Tide: Hans Zimmer, Subliminal Harmony, and Submerged Voices
Crimson Tide (Tony Scott, 1995) is a signal example of Hollywood action-adventure movies of the past forty years and in particular of the “high-concept” movie. The score by Hans Zimmer is a landmark score for the composer and consolidates his reputation for scoring films of that genre. This article...
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Milano University Press
2025-02-01
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| Series: | Cinéma & Cie |
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| Online Access: | https://riviste.unimi.it/index.php/cinemaetcie/article/view/23447 |
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| author | Donald Greig |
| author_facet | Donald Greig |
| author_sort | Donald Greig |
| collection | DOAJ |
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Crimson Tide (Tony Scott, 1995) is a signal example of Hollywood action-adventure movies of the past forty years and in particular of the “high-concept” movie. The score by Hans Zimmer is a landmark score for the composer and consolidates his reputation for scoring films of that genre. This article addresses the now-famous Zimmerian work process and several stylistic traits, including the use of a male chorus. Choral voices in the film’s context provide both a synecdochic link to the submariners but also function as a commentative chorus. Using Neo-Riemannian theory, the potential contribution of which to film-music studies is still only now beginning to be explored, I examine the deployment of specific harmonic strategies that create a link back to earlier Hollywood film-music practices and show how Zimmer represents less an evolution than a continuation of recognisable styles and idioms.
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| format | Article |
| id | doaj-art-ef96057507c14fe492871ae97ccb1210 |
| institution | Kabale University |
| issn | 2036-461X |
| language | English |
| publishDate | 2025-02-01 |
| publisher | Milano University Press |
| record_format | Article |
| series | Cinéma & Cie |
| spelling | doaj-art-ef96057507c14fe492871ae97ccb12102025-02-10T15:42:06ZengMilano University PressCinéma & Cie2036-461X2025-02-01244310.54103/2036-461X/23447Crimson Tide: Hans Zimmer, Subliminal Harmony, and Submerged VoicesDonald Greig0https://orcid.org/0000-0002-8533-2615University of Nottingham Crimson Tide (Tony Scott, 1995) is a signal example of Hollywood action-adventure movies of the past forty years and in particular of the “high-concept” movie. The score by Hans Zimmer is a landmark score for the composer and consolidates his reputation for scoring films of that genre. This article addresses the now-famous Zimmerian work process and several stylistic traits, including the use of a male chorus. Choral voices in the film’s context provide both a synecdochic link to the submariners but also function as a commentative chorus. Using Neo-Riemannian theory, the potential contribution of which to film-music studies is still only now beginning to be explored, I examine the deployment of specific harmonic strategies that create a link back to earlier Hollywood film-music practices and show how Zimmer represents less an evolution than a continuation of recognisable styles and idioms. https://riviste.unimi.it/index.php/cinemaetcie/article/view/23447Corporate ClassicismHans ZimmerChoral VoicesNeo-Riemmanian TheoryNarration |
| spellingShingle | Donald Greig Crimson Tide: Hans Zimmer, Subliminal Harmony, and Submerged Voices Cinéma & Cie Corporate Classicism Hans Zimmer Choral Voices Neo-Riemmanian Theory Narration |
| title | Crimson Tide: Hans Zimmer, Subliminal Harmony, and Submerged Voices |
| title_full | Crimson Tide: Hans Zimmer, Subliminal Harmony, and Submerged Voices |
| title_fullStr | Crimson Tide: Hans Zimmer, Subliminal Harmony, and Submerged Voices |
| title_full_unstemmed | Crimson Tide: Hans Zimmer, Subliminal Harmony, and Submerged Voices |
| title_short | Crimson Tide: Hans Zimmer, Subliminal Harmony, and Submerged Voices |
| title_sort | crimson tide hans zimmer subliminal harmony and submerged voices |
| topic | Corporate Classicism Hans Zimmer Choral Voices Neo-Riemmanian Theory Narration |
| url | https://riviste.unimi.it/index.php/cinemaetcie/article/view/23447 |
| work_keys_str_mv | AT donaldgreig crimsontidehanszimmersubliminalharmonyandsubmergedvoices |