A film score comprises a number of orchestral, instrumental, or choral pieces called cues, which are timed to begin and end at specific points during the film in order to enhance the dramatic narrative and the emotional impact of the scene in question. (Anon. 2016) The cave-inspired cues here for the most part accompanied actual cave scenes in specific movies.
The great majority of film music is written by contemporary art music composers, some of whom have also written concertos and even symphonies. For this reason this Film Music section follows directly after Contemporary Art Music on the Home Page. Many film composers, of course, found that there was more money to be made working for the cinema than they could doing concert work.
Just as films need music, film music needs images to be complete. (Krasnoborski 1980) So an effort will be made whenever possible to describe the scene corresponding to the cave-inspired cue. Many cues have titles related to people, things or action associated with a specific cave scene, but the cue title itself does not mention caves. These cues, even though they cover cave scenes, may be discussed, but will not be included here.
Film music composers will sometimes use "quotations" from classical music, that is, borrow musical themes or phrases. Carl Stalling used a motif from Mendelssohn's Fingal's Cave Overture for one of his cartoon scores (see under Animation).
This section has been organized in a similar way to Cave Fiction, that is, broken down into the various types of fiction. All entries in each section will be listed alphabetically under the film title. Minimum production credits for each film, such as director, script writer, and production company, will be provided in addition to the usual disc production data.
Films from television series are included with the feature films in the appropriate genre; many of these television films are children's programs or animation cartoons.
I didn't go out of my way looking for Batman and Dracula material, but what I came across in passing was included. I consider both fictional figures only very marginally related to real bats: the one dressed as a bat and the other changed from a bat into a man. The Batman cues are nearly all inspired by the bat cave, which is supposed to be a real or artificial cave. Only the 1979 Dracula film was included; the John Williams score has a cue for the cave scene and one for the bats' scene. Exceptionally, the 12 cues for the Batman Begins score use the names of various genus of bats for their titles.
Following the various genre film sections are the miscellaneous entries such as Video Games, Movie Radio Spots, and Library Background music. Only the cave-inspired music composed for video games and issued on CDs will be included here; the visual part of those games is not under consideration.
The movie radio spots are spoken word previews or trailers for feature length films. These short spots, usually on single 45s, lasting 30 seconds or one minute, include music and sound effects from the film and were solely intended for radio broadcasts.
The library music consists of very short cave- or bat-inspired cues that are intended as background music to illustrate scenes or segments in film or television or even slide productions.
The scores for several significant cave documentary films are included under Non-Fiction films. The Deep Earth score was composed for a light show that was presented in the show cave, Grotte de Han, in Belgium.
Each section, whether fiction or non fiction, has been listed according to film genre. And each entry within all the different sections was given a code number – starting with “FM” meaning film music followed by the code.
The list of abbreviations used for each entry will be found in the “Abbreviations” tab on the bottom left.