Muzyka i horror. "Lśnienie" Stanleya Kubricka

Main Article Content

Krzysztof Kozłowski

Abstrakt

The Kubrick Horror Show: making music in “The Shining”

This article will argue that in The Shining, Kubrick has constructed a radical semantisation of instrumental music, composed or adapted to the film. It could be argued that in this context Kubrick has produced such a sophisticated backdrop of fusion between music and film that this production can be considered one of the masterpieces in this field. In this light, the study shall discuss five aspects: the context of programme and instrumental music in respect to both conflicting and complementary tendencies of 19th c. esthetics, discussion of the simplest compositions used to demonstrate the film’s world of the inferno and finally, Kubrick’s complex semanticisation based on a clear labyrinth construction (catalysing fear in the labyrinth-trap).

The study shall employ Carl Dahlhaus’ (1971) model of “method of interpretative analysis” used in respect to Richard Wagner as well as the notion of Wagners Konzeption des musikalischen Dramas. Further, the discussion shall be based on a complementary authorial methodology in three parts; a reading of non-musicological semantic markers of synchronically arranged fragments of instrumental composition used in film narration, a diachronic analysis of forms and their elements relating to the film score and last, an examination of the most functional of concepts relating to the esthetics of music.

On the basis of the above mentioned issues, it shall be maintained that the music used as an overlay to the unfolding narrative of the film, though multifarious in construction, is powered by a dominant topos, diabolus in musica, which is realised in the form of “polyphony without cantus firmus”. This in turn supports the view that the role of music ought to be seen as one integral to film as a communicative medium, and not one simply of background, as some would argue.

In conclusion, it shall be argued that in constructing a semantic framework of music in such a rich multi-level fashion, Kubrick has turned the role of music into an integral element of a highly complex artistic structure. This, it ought to be added, allows the score of this film to be placed at the same level as synthetic works of art (musical drama) and in terms of the genre horror, The Shining is the most “musicalised” of Kubrick’s films.

This study may provide a basis for further research into the nature of Film, in particular, the work of Stanley Kubrick.

Downloads

Download data is not yet available.

Article Details

Jak cytować
Kozłowski, K. (2009). Muzyka i horror. "Lśnienie" Stanleya Kubricka. Images. The International Journal of European Film, Performing Arts and Audiovisual Communication, 7(13-14), 47-64. https://doi.org/10.14746/i.2009.13.14.04
Dział
Temat numeru

Bibliografia

  1. C. Dahihaus i H.H. Eggebrecht, Co to jest muzyka?, przeł. D. Lachowska, wstęp M. Bristiger, Warszawa 1992, s. 67.
  2. C. Fioros, Der Mensch, die Liebe und die Musik, Zürich — Hamburg 2002, s. 33.
  3. Th. Mann, Niemcy i naród niemiecki, w: Moje czasy, przeł. W. Kunicki, wybór i wstęp H. Orłowski, Poznań 2002, s. 392—393 („Poznańska Bibiioteka Niemiecka", t. 16).
  4. Hans Heinrich Eggebrecht (MusikimAbendland. Prozesse und StationenvomMittelalterbiszurGegenwart, München—Zürich 19982, s. 592.
  5. C. Fioros, MusikalsBotschaft, Wiesbaden 1989.
  6. R. Wagner, Ober Franz Lisztssymphonische Dich-tungen, w: SamtlicheSchriften undDichtungen, t. 5, w: R. Wagner, Werke, Schriften und Briefe, hrsg. Von S. Friedrich, Beriin 2004, s. 191. („DigitaieBibiiothek Band 107").
  7. C. Fioros, Gustav Mahler, t. 1: Die geistige Welt Gustav Mahlers in systematischerDar¬stellung, Wiesbaden 19872, s. 15 i n.
  8. S. Speri, Die Semantisierung der MusikimfilmischenWerk Stanley Kubricks, Würzburg 2006, s. 176; Ch. Hust, Shining (The Shi¬ning), w: Klassiker der Filmmusik, hrsg. von P. Moor¬mann, Stuttgart 2009, s. 222-224; G. Bodde, Die Musik in den Filmen von Stanley Kubrick, Osnabrück 2002, s. 95-97.
  9. S. Speri, op. cit., s. 176 i n.
  10. W.Dömling, Ber¬lioz. Symphonie fantastique, München 19882, s. 46 i n. [„Meisterwerke der Musik. WerkmonographienzurMusikgeschichte", Heft 19.
  11. C. Fioros, Gustav Mahler, t. 2: Mahler und die Symphonik des 19. Jahrhunderts in neuerDeutung. ZurGrundle¬gungeinerzeitgemäfienmusikalischenExegetik, Wies¬baden 19872, s. 116.
  12. W. Dómling, Hector Berlioz und seine Zeit, Laaber 1986, s. 69.
  13. Stanley Kubrick: „Lśnienie", Warner Bros. 2008 („Dwupłytowa Edycja Specjalna DVD", płyta 1). Mówi Diane Johnson, scenarzystka „Lśnienia", „Film na Świecie" 1981, nr 516, s. 48) „Das Wichtigste war die Geschichte selbst" oder „Weggehen war nicht gut". Interwiewmit Christiane Kubrick uberihren Mann, den Meisterregisseur Stanley Kubrick (26. Juli 1928-7. Marz 1999), http:11www.spirit-fanzine.de1 interviews1christianekubrick2.pdf. RaydKhouioki (Der filmischeRaum. Konstruktion, Wahrnehmung, Bedeutung, Beriin 2009, s. 62.
  14. Krzysztof Penderecki, t. 1: Rozmowy lusławickie, rozmawiał M. Tomaszewski, Oiszanica 2005, s. 129.
  15. Cz. Miłosz, Widzenia nad Zatoką San Francisco, Kraków 1989, s. 53.
  16. Mówi Stanley Kubrick, przeł. I. Dembowski, „Film na Świecie" 1981, nr 2731274, s. 35.
  17. An interview with Stanley Kubrick by Vicente Molina Foix, w: The Stanley Kubrick Archives, ed. by A. Castie, Hong Kong etai. 2008, s. 463.
  18. A. Jacke, Stanley Kubrick. EineDeutung der Konzepte seiner Filme, GieSen 2009, s. 245.
  19. G. Seessieni F. Jung, Stanley Kubrick und seine filme, Marburg 2001, s. 244.
  20. F. Schnei¬ie, Im Labyrinth der Korridore: „The Shining" (1980), w: Stanley Kubrick, hrsg. von A. Kiib und R. Rother, Beriin 1999, s. 212.
  21. J. Hunkemóller, BélaBartók. Musik fur Saitenins-trumente, München 1982 („Meisterwerke der Musik. WerkmonographienzurMusikgeschichte", Heft 36.
  22. U. Eco, Od drzewa do labiryntu, przeł. J. Szymanowska, w: Od drzewa do labiryntu. Studia historyczne o znaku i interpretacji, Warszawa 2009, s. 49.
  23. A. Bienk, Filmsprache. Einf-fihrung in die inter-aktiveFilmanalyse, Marburg 2008, s. 130—131.
  24. E. Heiier, Enterbter Geist. Essays fiber modernesDichten und Denken, Wiesbaden 1954, s. 306.
  25. V. LoBrutto, Stanley Kubrick. A Biograhy, New York 1997, s. 418.
  26. View from the Overlook Hotel: Crafting The Shining, w: Stanley Kubrick: „Lśnienie", Warner Bros. 2008 („DwupłytowaEdycjaSpecjaina" DVD, płyta 2).
  27. Thrasybuios G. Georgiades (Musik und Sprache. Das Werden der abendlandischenMusikdargestelltan der Vertonung der Messe, Beriin — Heideiberg — New York 19742, s. 25.
  28. Iwona Sowińska (Dźwięki i obrazy. O słuchaniu filmów, Katowice 2001.
  29. W. Fauistich, Systemtheorie des Literaturbetriebs, w: Medienkultu¬ren, München 2000, s. 16. Zob. też W. Fauistich, Die Filminterpretation, Góttingen 1988, s. 9.
  30. S. Kierkegaard, Stadia erotyki bezpośredniej, w: Albo — albo, przeł. i wstępem opatrzył J. Iwaszkiewicz, t. 1, Warszawa 1981, s. 76.
  31. U. Vossen, Einleitung, w: Filmgenres: Horrorfilm, hrsg. von U. Vossen, Stuttgart 2004, s. 9.