Desde el cine a la partitura. Qué es lo que debe saber el compositor de música para cine

If in previous cases and studies, published in previous issues, Wagner was the founding reference for the overall compositional mode of Romantic drama, which extends to cinema and incidental music, in this article it will be Stravinsky, highlighting how he expands the useof compositional principles, breaking down and extending the expressiveness of melodic, harmonic, and rhythmic resources to serve the incidental dramatic work, which has also influenced studies of musical composition and synchronization in cinema. This third article analyzes the pure Dorian and Aeolian modes in the composition of the music for the films Gladiator, with music by Hans Zimmer, and Mission: Impossible, by composer Schierin. Unlike the previous two articles, a second analytical element is added: tempo and rhythmas a compositional resource to produce strong emotions associated with the moving image.