1. „tone
and
mood“
–
audiovisual
and
intermedial
Constructions
of
musical
emotive
Narration
Steffen
A.
Schmidt,
Institute
Cultural
Studies
Zurich
Art
School,
Switzerland
2. Bette
Davis:
! „
Am
I
walking
down
the
stairs
or
is
it
the
Score
of
Max
Steiner?“
! (see
Scorsese
2005)
3. Film
noir
! „Tone
and
Mood“
(Paul
Schrader
1972);
! Films:
Classical
Period:
Maltese
Falcon
(1941)
–
Touch
of
Evil
(1958)
! Characteristics:
! Dark
contrasts
(Claire/obscure)
! Mysterious
camera
perspectives
4. Plot
Characteristics
! Difficult
entangled
plots
(Flashbacks)
! Oedipal
Triangle
Plot
(Reference:
Tristan
und
Isolde,
s.
Bronfen,
Zizek)
! Protagonist
(Detective),
Femme
fatale,
evil
Husband
! Characteristic
emotive
states
in
Film
noir:
! Loneliness,
Paranoia,
Resignation
5. Music
of
Film
noir
! Representation
of
the
emotive
states
of
Film
noir?
6. Musical
Function
in
Film
! Underscoring
the
plot
! Mood
of
the
people
and
situations
! „
...
evidence
for
visual
primacy
and
the
typical
subservience
of
audio
to
vision
...
Thus,
the
emotional
meaning
of
the
music
is
directed
here,
because
it
is
useful
in
determining
the
meaning
of
the
visual
scene.“
(Cohen
2001:261)
7. No
audio-‐narrative?
! Yes,
there
is:
Leitmotiv
! „
...
music
becomes
integrated
with
the
film
and
enables
the
symbolization
of
past
and
future
events
through
the
technique
of
leitmotiv.
Mood-dependent memories
can
also
be
cued
with
the
emotions
established
by
music.“
(Cohen,
258)
8. Functions
of
Leitmotiv
! Recognizable
motivic
Stability
! Function
of
Memory
(Clockworks
Singin
in
the
Rain)
! Symbolic
Character
! Semantic
Loading
10. Double
Indemnity
! 1944
–
Billy
Wilder
/
Miklos
Rozsa
! Flashback
Narration
through
the
single
Perspective
of
the
Protagonist
(Brown
1994)
! „A
man
loosing
his
moral
compass“
(Jarvie
2006)
–
Plan
of
Killing
the
Husband
/
Insurance
Betrayal
Second
Love
Scene:
Connecting
4
Leitmotives
12. Musical
Characters
! L
1.
„Allegro
con
spirito“:
dance-‐like
light
movement,
open
motive
! L
2.
„Misterioso“:
Deep
Strings,
Tritone-‐jump,
open
motive
! L
3.
„Adagio“
-‐
„Love-‐Theme“:
:
High
Strings,
Major
Seven
Chords
! L
2.
! L
5.
„Pesante“:
Main
Theme
-‐
Murder-‐Theme:,
Minor
Cadence
with
dissonances,
closed
8
bar
structure
! Shape:
Rondo
13. 2.
Emotive
States
! L
1:
Desire
/
Drive
! L
2:
Tension
! L
3:
„Jouissance“
! L
2:
Tension
! L
4:
„Tragedy“
14. Narrative
Function
! L
1:
Travelling
between
Present
and
Past:
Memory
Reflection:
Recollection
of
the
„Drive“
(Freud)
! L
2:
Trespassing
the
Law
! L
3:
Intimacy,
Romance,
Harmony
(???)
! L
2:
Trespassing
the
Law
again
! L
4:
Travelling
between
Present
and
Past:
Recollection
/
Reflection
of
the
Murder
Plan
15. Orphic
and
Oedipal
Narration
! R.S.
Brown
(1994):
! Distinction
between
the
Time
Travelling
Motives
! L1:
Orphic
-‐
Telling
the
Story:
Recollection
! L4:
Oedipal:
Decision
of
Killing
the
Husband
(oedipal
Triangle)
16. Staging
the
Ritual
of
Recollection
through
emotive
Narration
! Reflection
of
„loosing
the
Compass“
! through
Desire
(L
1),
Trespassing
(L
2),
Jouissance
(L
3),
Trespassing
! Reflection
of
! Becoming
Guilty
(L
4:
Main
Theme)
17. Rozsas
Composition
...
! ...
is
precisely
reflecting
„tone
and
mood“
of
Film
noir
by
using
the
Leitmotives
with
an
emotive
Narration
of
Recollection.
! The
Main
Theme
(L
4)
represents
the
Reflection
of
the
Feeling
of
! GUILT!
! The
Question,
which
is
not
answered
in
the
Film
is:
guilty
or
not.
! It
is
left
to
the
Audience
18. Film
Music
gives
...
! ...
an
emotive
Narration,
which
delivers
a
contour
to
the
cinematic
Narration
! The
cinematic
Narration
specifies
the
emotive
Music,
giving
it
a
certain
meaning;
! In
the
Case
of
Double
Indemnity:
! Ritual
of
Recollecting
(orphic)
! Reflection
of
the
Feeling
of
Guilt
(oedipal).
19. Schopenhauer
/
Metaphysik:
! ...
In
der
Melodie
...
erkenne
ich
die
höchste
Stufe
der
Objektivation
des
Willens
wieder
...
Sie
erzählt
folglich
die
Geschichte
des
von
der
Besonnenheit
beleuchteten
Willens,
dessen
Abdruck
in
der
Wirklichkeit
die
Reihe
seiner
Thaten
ist;
aber
sie
sagt
mehr,
sie
erzählt
seine
geheimste
Geschichte,
malt
jede
Regung
...
Alles
das,
was
die
Vernunft
unter
den
weiten
und
negativen
Begriff
Gefühl
zusammenfasst
...
(S.
374)
20. Cohen:
„Congruence-‐
associationist
framework“
! „
...
information
of
the
musical
meaning
...
is
transferred
not
only
to
a
music
Short
Term
Memory
(STM)
but
also
to
the
visual
STM.
...
This
decision
is
supported
by
the
evidence
for
visual
primacy
and
the
typical
subservience
of
audio
to
vision
...
Thus,
the
emotional
meaning
of
the
music
is
directed
here,
because
it
is
useful
in
determining
the
meaning
of
the
visual
scene.“
(261)
21. Cohen:
Function
of
leitmotiv
! „
...
music
becomes
integrated
with
the
film
and
enables
the
symbolization
of
past
and
future
events
through
the
technique
of
leitmotiv.
Mood-dependent memories
can
also
be
cued
with
the
emotions
established
by
music.“
(258)
22. Other
approaches
! The
centre
of
a
narrative
film
is
the
narration
itself,
which
shifts
between
the
visual
and
the
auditive
! Michel
Chion
(2003):
Le
cinema
–
un
art
sonore:
! Language,
sound
and
music
are
building
a
narrative
acoustic
continuity
! R.S.
Brown
(1994):
The
„orphic“
and
„oedipal“
narration
in
Double
indemnity
23. Intermedial
Counterpoint
! Music
has
its
autonomus
Narrative
as
one
layer:
shape,
Leitmotiv
! Music
is
linked
to
the
language
and
visual
narrative:
underscoring,
mood
! The
perspective
of
research
is
to
combine:
the
musical,
the
acoustic
(Language,
noise)
and
the
visual
in
cinematic
context
24. Double
Indemnity
! Audio-‐dispositive:
Three
layers
! Voice
over
(off)
–
narration:
recollection
–
Present
-‐
Past
! Dialogues
/
Sound
Design
–
Present
in
the
Past
! Music:
From
past
to
present
–
Function
of
trespassing
time
–
travelling
through
emotive
memory
with
Leitmotiv
I-‐IV
25. Double
Indemnity
/
Rozsa
! 26:40
–
30:56
-‐
Musical
Narratives
! Music
in
order
of
appearance:
! Leitmotiv
II
(Narrative
II)
(Schubert‘s
Unfinished
open
motive)
-‐
! Leitmotiv
IV:
Tension
motive
(minor
3rd,
tritone,
repetition)
-‐
action
! Love
theme
(major):
Leitmotiv
III
! Tension
motive:
Leitmotiv
IV
! Leitmotiv
I
(Narrative
I)
(main
theme,
finishing
8
bar
phrase)
26. Drama
narrative
! Walter‘s
obsession:
thinking
of
insurance
betrayal
(narrative
II
to
Tension
motive)
! Decision
to
kill
as
expression
of
loving
intimacy
(fullfilling
her
dreams)
–
love
theme
! Facing
the
plan
–
Tension
motive
! Having
made
the
decision
–
Narrative
I
27. Dramatic
situation
! Ian
Jarvie:
„A
Man,
loosing
his
moral
compass“
(Philosophy
of
film
noir,
2006)
! Emotional
states
of
the
musical
form:
! Recollecting,
„arguing“
–
Narrative
II
! Tension
(„twisted
up
inside“)–
trespassing
the
law
(dissonance)
! Dreaming,
loving
(„The
woman
I
love“)
–
major
love
theme
! Tension
–
trespassing
the
law
! Judging
what
happened:
Resignation
and
Guilt
28. Time
travelling
! Present
! Voice
over
/
Narrative
II:
Past
–
Present
! Tension:
Present
–
Future
–
Expectation
! Past
(becomes
present)
! Love
Theme:
total
present
! Tension:
Present
–Future
! Narrative
I:
Past
–
Present-‐Reflection
29. Two
different
musical
forms
of
memory-‐representation
! Both
themes
represent:
! I
have
done
(representing
past)
! Narrative
II:
I
will
have
done
(symbol
for
open
situation)
! Narrative
I:
I
„had“
have
done
30. Two
different
representations
of
emotive
memory
! Narrative
II:
Desire
(„Honeysuckle“):
Process
of
doing
! Narrative
I:
Guilt
(„Confession“):
Result
of
doing.
! E.G.:
2nd
Love
scene:
! Musical
emotive
narration:
! Desire
(narrative
II)
–
Tension
(tension
motive“)
-‐
„Dream
come
true“
(love
theme)
–
Tension
–
Guilt
(Narrative
I)
31. Conclusion
! Cohen:
Strong
musical
function
of
emotive
narration
(through
memory)
-‐
modifying
A.
Cohen
! Film
noir
a
genre
of
„Tone
and
Mood“
! In
„Double
Indemnity“
the
„core
mood“
is
Narrative
I:
Expression
of
! GUILT
through
recollection
! The
audience
has
to
decide;
Guilty
or
not
–
! THANK
YOU!!!
32. Browns
Orphic
Narrative
! „Neff
arrives
back
at
his
office
and
brings
Phyllis
back
to
life
by
creating
a
narrative
(using
a
dictaphone),
just
as
Orpheus
uses
his
art,
music,
to
gain
entrance
to
Hades
so
that
he
can
bring
Euridice
back
to
life
...
33. Brown‘s
Meta-‐Narration
! „Neff’s
behaviour
totally
doubles
that
of
the
filmmaker
and
gives
him
the
‚infinity’
that
Oedipal
mother
cannot
give.“
(124/5).
! „...
the
ever
present
narration
theme,
which
turns
up
14
times
carrying
the
action
back
and
forth
between
two
narratives
and
two
narrative
times,
ultimately
providing
what
very
little
film
music
has
ever
provided,
namely
affective
backing
for
the
making
of
the
film
itself.“(133)
34. Emotive
Memory
and
Narration
! „Emotive“
see
S.
K.
Langer
as
umbrella
term
for
emotion,
mood,
feeling
1.
Cultural
science
discourse
on
affect
(m.
Bal)
! Cultural
Code
!
of
musical
narration
in
history:
! Schopenhauer,
Wagner,
Nietzsche
35. Function
of
musical
emotion
! Harmonics
–
major
/
minor,
con-‐/dissonance,
modulation
! Melody
–
Motive,
Theme,
melodic
line,
Speech,
„leitmotif“
! Shape
–
Phrase
structure,
ABA
–
forms
! Instruments
–
violin-‐kiss,
tuba-‐walking
! Quotation
36. Musical
Mythology
! Schopenhauer
/
Nietzsche:
! Music
represents
not
one
specific
drama,
but
! THE
drama:
Situation
–
conflict
–
solution
! Music:
cons
(T)-‐
disson
(D)
-‐
Cons.(T)
! Shape
level:
A
B
A
! Sonata
form:
Expos.
Devel.
Reprise