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This paper investigates the purpose of using Baroque music in movies and its relationship with the visuals in films. After briefly defining the term Baroque in the context of art, the use of Baroque music in artistic movies by referring to previous academic research will be mentioned. In this way, a gap in the field will be filled as the scholars usually do research on music or classical music in films. Moreover, Baroque music usually serves as a background element or accompaniment for the visuals in the films rather than complete synchronization. Before reaching a general conclusion, Michel Dudok de Wit’s awarded animated film The Monk and the Fish (1994) will be the main focus here. Because in this film, a Baroque music piece, a modified version of Arcangelo Corelli’s La Follia is mostly synchronized with the visuals.

The Use of Baroque Music in Films and De Wit's “The Monk and The Fish”