The following is a collaboration of Mac’s Tracks, The Mirror’s music column, and Panther Picture Spotlight, The Mirror’s movie column. All views, thoughts and opinions belong solely to the authors and do not necessarily represent those of the Drury Mirror. 

Musicals are a popular American invention. And like America itself, it’s kind of a miracle they exist at all. Music and story were mostly separate, apart from opera, until less than a century ago. Starting with minstrel shows in the late 19th century, musicals quickly evolved into the Broadway shows they’re most famous for today.

But film was quick to pick up on this new tradition. “The Jazz Singer,” the first “talking picture” released in 1927, was a musical. Diegetic musicals were a natural next step for the new genre.

What is diegesis?

“Diegesis” is a term used to describe whether or not what is heard or seen on-screen has an effect on the characters in the story. Most musical scores, for example, are “non-diegetic,” meaning it is purely there for the audience’s benefit.

For instance, Luke Skywalker, unless you are watching the “Family Guy” parody, does not know that The London Symphony Orchestra is blaring John Williams’s “The Force Theme” as he stares off towards the two setting suns on Tatooine.

Conversely, later in “Star Wars,” as Luke and Obi-Wan enter that wretched hive of scum and villainy, The Cantina Theme is a diegetic piece of scoring. Characters on stage play the music that underscores the scene. Both are pieces of music written by Williams for the film, but only one is heard by the characters.

So, diegetic musicals are ones that the characters’ songs exist in the world of the score. Usually, these films follow a musician, like the titular character in the Coen Brothers’ “Inside Llewyn Davis.” While diegetic musicals often also have a non-diegetic score, doing this makes the music flow naturally into the story.

The ramifications of this kind of scoring are fairly apparent. Instead of a writer putting words to a character’s thoughts or playing out action or dialogue, musicals following musicians have music written by a character trying to explore their thoughts. Music goes from being purely expressionistic to being practical within the story. The music itself also differs drastically nearly every time.

(Photo via unsplash.com)

Music in movies

In “A Star is Born,” diegesis characterizes the relationship between and personality of Jackson Maine and Ally. Maine’s style is that of a rocker, full of amps and guitars with a band backing him. Ally’s musical strength is channeled through her voice and lyrics, pointing her toward the path of pop.

When we hear the songs in the movie, we are experiencing every emotion that the characters on screen do. As Maine and Ally grow closer, you can listen to how their styles meld together and become something new – bold, honest and beautiful.

The inclusion of diegetic scenes brings the audience into their world rather than having them watch from the outside. In “Reservoir Dogs,” the soundtrack is composed of hits from the 1970s, all of which are heard by the characters through the radio. The viewer is standing alongside Mr. Orange as he dons his undercover guise while “He’s a Fool for Love” drifts across his apartment.

The complexity of musicals

Musicals raise a special problem in the definition of diegesis. Standing as heightened representations of reality, the characters are the ones creating the music yet no one acknowledges that they are singing. There are some exceptions to this rule like “Ella Enchanted” or “Tangled,” but for the vast majority, it can be argued that they exist in a diegetic purgatory.

“Singin’ in the Rain” presents a strong case for diegesis as Don Lockwood and company struggle to turn a talking picture into a musical, a problem that arises in response to the release of “The Jazz Singer” in the movie. Songs like “Fit as a Fiddle” fall neatly into a diegetic category.

But not all of the numbers in Gene Kelly’s magnum opus exist in the film’s world. Some straddle the line, like when Kelly’s character confesses his love to Debbie Reynolds’ character. Others are purely not of the film’s world, like “Make ‘Em Laugh” or “Good Morning.” Diegesis is a complicated idea in film. It’s a hard concept to pin down, and therefore interesting and fun to discuss beyond what a 700-word article can explore.

Whatever the genre or style of music selected for the film, its incorporation is designed to engage the audience with the storyline. Selecting the right tracks allows the viewer to feel that they are part of the plot.

Written by Maclen Johnson and Jacob Maher.