ABSTRACT
The sounds, meanings and affective content of postminimalist soundtracks in film and video have been the subject of a fair amount of debate in recent academic writing.1 Most of this work has been concerned with explaining how postminimalist music works differently from the traditional Hollywood underscore; how it interacts – or does not interact – with simultaneously presented moving images and, to a lesser extent, what other types of film soundtrack might be thought to work in a similar way.2 Included among the last of these categories are possible precursors of postminimalism in cinema: examples of soundtracks in which a minimalist influence seems likely; and, lastly, those that work similarly but where a direct influence appears unlikely.
