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Cautioned against the excesses of ‘film funners,’”16 overdoing the comic effect or trying to create comedy where none was intended. When feature-length films and grand movie houses became the norm, film funners began using their musical clichés exclusively in comedies, where such behavior seemed appropriate. If we consider the different functions of music in films, comedies or not, we quickly recognize that popular song references had to do much more than just plug a song. 17 Stalling thus learned the power of music to shape, direct, and manipulate both the emotional level of the story and the feelings of the audience when he worked as an accompanist.

12 A committed theater musician would be familiar with a wide spectrum of materials providing a wealth of musical options. Any accompanist interested in keeping the audience involved would certainly vary the melodies used throughout the afternoon or evening (not just in an individual picture), adding constantly to the musical and emotional range of the show. While standard accompanying fare for movies included original music and arrangements of light classics, contemporary popular songs gave composers new and interesting tunes to work with.

The tunes could (figuratively) speak for themselves. ”54 The domination of gags over story development is only one of the similarities between such films and Warner Bros. cartoons. Another involves the use of generic story lines to create new plot situations, compelling the cartoon’s director and writers to come up with gags specific to the stereotyped genre they were satirizing: western, vaudeville, romance, horror, and so on. As the film scholar Henry Jenkins has shown, an “economy” of representation is involved when a dramatic set piece is set up: “characters and situations needed to be immediately recognizable.

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