'I Just Put a Drone under Him...': Collage and Subversion in the Score of 'Die Hard' Author(s): Robynn J. Stilwell Source: Music & Letters, Vol. 78, No. 4 (Nov., 1997), pp. 551-580 Published by: Oxford University Press Stable URL: https://www.jstor.org/stable/737639 Accessed: 21-10-2018 21:08 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact
[email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Oxford University Press is collaborating with JSTOR to digitize, preserve and extend access to Music & Letters This content downloaded from 146.57.3.25 on Sun, 21 Oct 2018 21:08:02 UTC All use subject to https://about.jstor.org/terms 'I JUST PUT A DRONE UNDER HIM...': COLLAGE AND SUBVERSION IN THE SCORE OF 'DIE HARD' BY ROBYNN J. STILWELL WHEN IT WAS released in 1988, Die Hard was regarded as just another action film, albeit a whopping good one. Time has proved that it was something more significant: Die Hard was not the first great blockbuster action film, but it swiftly emerged as a virtual template for those that followed. As with Singin' in the Rain (1952) for the musical, however, there was enough history behind Die Hard for the film both to epitomize and to comment upon the genre.