The effects of postminimalist musical movement in film music

Music has been pragmatically used as a way of silencing or eliminating the noise of the projection machine first years of the cinema. Later, with the new aesthetic point of view brought by the developing cinema and music technologies, it went beyond this function. The functioning of film music depends on certain dynamics on the image and this dependence is the most basic distinction between other musical genres. Until recently, film music which is not regarded as an independent kind of music on the academic scene, has developed along with cinematic tradition and has found way of separate commercial existence. At the beginning of the 20th century, the piano improvisations and the orchestras performing at the same time with film demonstrations have achieved a new field of composing after the integration of the sound channels into the image. Austrian composers Max Steiner and Erich Wolfgang Korngold who provide to open music departments in big film studios, are the cornerstones of film music composing and give the new perspectives on composers with composing techniques who follow up them. After 1950, world cinema which rapidly diversifying and expanding, has provided a rapid expansion, diversification and transformation in the film sector. This enlargement has caused film music composers to search new ways of expression in the image and rapidly diversify musical ideas. Alex North's addition of Jazz elements to the cinema, Louis and Bebe Barron siblings used of non-orchestral music based on effects which produced with classical analog sound production equipment, the use of ethnic instruments by Maurice Jarre, the use of John Carpenter's electronic music at the cinema which fast-paced in 1970's, Harold Faltermeyer's blending of Rock elements with electronic music are turning points in the name of modern film music. In the last quarter of the 20th century and the 21th century, Minimalism and Postminimalism can be seen as one of the most important trends directly affecting the composing of film music. "Conceptual music" which emerged as a result of John Cage and Arnold Schönberg work on avant-garde musci in the 1930's, is the basis of contemporary musical movements. In this musical concept, performance ahead of composition. This foundation is an important resource for Minimalism's thought infrastructure that emerged in American art environments in the 1960s. The forms of thinking such as reduction of material, the simplicity of instrumentation, appearance of "repetition" in the foreground, constitute the basic characteristic of Minimalism. Minimalism began to lose its character in the 1970s with composers such as Steve Reich and Philip Glass flexing the musical characteristic of the movement. A group of composers such as John Adams, Louis Andriessen, Michael Nyman, and Arvo Pärt took the starting point as Minimalism, but the minimalist language manipulated by them into other historical aspects. In this period, Minimalism has been reduced to a systematic and radical compositional technique which is no longer an intellectual movement. Some features of the current are used and combined with other techniques, and some features are abandoned. The concept of postminimalism was first used by the American composer John Adams at the end of the 1980s. Postminimalism is an aesthetic movement that is the result of the blending technical, stylistic and aesthetic elements of Minimalism and non-minimalist elements. The most important factors that make up the postminimalist identity are the emergence of melodic lines on a minimalist infrastructure, the diversity of the instrumentation and the forms of the compositions. The rising interest in postminimalism has shown itself in film music since the second half of the 2000s. After that date, Postminimalist soundtracks, which have increased rapidly especially with the Golden Globe and Oscar awards of music made by Trent Reznor and Atticus Ross for The Social Network (Social Network, 2010), have become or have been nominated for highly respected awards. In this study, film scores of Hans Zimmer was nominated for an Oscar for Best Original Film Score in 2011 and 2015 with Inception (2010) and Interstellar (2014), Alexandre Desplat's was nominated for an Oscar and Golden Globe in 2015 and 2016 with The Imitation Game (2014) and The Danish Girl (2015), Johan Johannson's Golden Globe in 2015, Oscar, BAFTA and Grammy nominations for The Theory Of Everthing (2014) have been identified as Postminimalist. Also included the analysis of the Postminimalist compositions from the Ludovico Einaudi album selected by the director of the Intouchables (2011). Thus, it is exemplified that the aesthetic preference for this movement in cinema is bi-directional(composer preference-director preference).