There's a wonderful piece up on (the New Yorker Music Critic) Alex Ross's blog analysing the soundtrack to that awful, awful film, Troy:
Horner is presenting us with a kind of musical meta-narrative of deconstructive requotation—a postmodern tour-de-force on par with the Pierre Menard Don Quixote. Notice the emphasis on Shostakovich and Prokofiev, two composers who served unwillingly as mouthpieces for totalitarian terror. We are being told that the hero Achilles has let himself become a figurehead for the tyrannical Agamemnon. The citation of Britten, meanwhile, is a sly acknowledgement of the story’s homoerotic subtext, which was evidently omitted for fear of persecution by the Bush regime.
It's a great laugh, so go read the whole thing.
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