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Moments of musical performance in films such as Breakfast at Tiffany's [End Page 83] (Blake Edwards, 1961) and both versions of The Man Who Knew Too Much (Alfred Hitchcock, 1934 & 1956) are also described as suspending the narrative whilst simultaneously underpinning its themes, drawing comparisons with the function, if not quite the style, of many song and dance numbers in the film musical. Contemporary films often heighten the disruptive effect of the musical moment by employing the montage editing and post-classical aesthetic of music video to produce sequences of a 'deliberately anti-integrational' nature (5). Conrich and Tincknell view these sequences as opportunities to 'broaden rather than restrict the possible audiences for the film' and to 'secure audience engagement, not only with the film itself but also with the particular recordings featured in these brief eruptions of aural and visual spectacle' (6). They give the example here of Céline Dion's chart-topping 'My Heart Will Go On' as used in Titanic (James Cameron, 1997), noting that the 'meaning' of the film also circulated through the song and its associations. Whilst 'My Heart Will Go On' certainly acted as a highly successful form of cross-promotion, its 'broadening' effect is perhaps more minimal than suggested here, as it is a musical moment very closely aimed at the film's original target market, rather than at those outside it.
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