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“Film music is a notoriously difficult subject to discuss in depth, since (like all musical topics) such discussion presupposes some knowledge of the musical science which the average student of film or the man-in-the-street cannot be expected to possess.” - The Composer in Hollywood, page 7 Any definition of a field as broad as science fiction must include or exclude particular works on an arbitrary basis. Science fiction, for the purpose of this essay, shall include space based films and fantasy films such as The Lord of the Rings: The Fellowship of the Ring, but exclude films of the horror genre and those of a mystical nature set in the present day or the past such as The Sixth Sense and Ghost. There are two functions of music to consider when discussing its use in film. The music which continues throughout the film thematically, which, more often than not, is composed specifically for the film; and what is mostly pre-existing music, which is being heard by both the audience and the characters, termed as being ‘within’ the film. There are three key ways in which science fiction writers treat music that is within a film. There is the use of music of the past to illuminate a vision of the future (Stanley Kubric