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Though the concerted study of Indian history in the American academy first commenced in the early 1960s, the publication of Edward Said’s Orientalism in 1978 is commonly viewed as inaugurating trends which have ever since been rather dominant, howsoever widespread the uneasiness and, indeed, resistance which Said’s ideas have increasingly generated. While the central arguments of Orientalism are too well known to require lengthy exposition, it will not be amiss, considering the developments that followed in the wake of Orientalism, to enumerate them briefly. Said argued that, alongside their military triumphs and economic conquests of “the Orient”, Europeans created an entire body of knowledge which enabled them to represent the Orient; such representations, moreover, far from having any necessary relationship to the Orient, reveal more about Europeans than they do about the ‘natives’ and their social institutions, cultural practices, and the like.
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Why? Though it may not facilitate our immersion in the fiction as directly and vividly as in the Another Woman example examined above, music invariably prepares, enables, and signifies the perceptual, cognitive, affective shift that marks the spectator’s psychic life the moment a film begins. It is like a passport into the world of the film, and on the other end it becomes a signpost pointing to our exit. The conventionalization of the practice has made the presence of the music necessary even though the effects that motivated its employment to begin with may be overlooked (or, better, “overheard”).