heinee14212 (film, music, literature) 12

heinee14212 (film, music, literature) 12 - Soviet Film...

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difference between this dissertation and Riley’s book is that I perform close readings of The Gadfly , Hamlet , and King Lear , and I also comment on and critique Tatiana Egorova’s readings of the films. All three films, The Gadfly , op. 97 ( Овод ), Hamlet , and King Lear , were composed after Stalin’s death, all three films were adaptations of British literature, and all three films correspond to the compositional style that Shostakovich was using for his concert music during each time period. If these were the only films that Shostakovich scored, then Riley’s book may be long enough to analyze the music in great detail, but at only 111 pages of prose, he simply cannot devote the time and space to several close readings. Prior to the Riley publication, the best source regarding Shostakovich’s film music in English is the translation of
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Unformatted text preview: Soviet Film Music: An Historical Survey , by Tatiana Egorova, which was translated from the original Russian to English in 1997 by Tatiana Graf and Natalia Egunova. Egorova makes inconsistent claims about Shostakovich’s music; sometimes she is correct, but other times, she writes using incorrect information that taints her conclusions. Within these films, there are important categories of music that consistently operate in the same way. These are diegetic and non-diegetic, and leitmotivic/“naming themes.” The diegetic and non-diegetic categories usually remain separate, and this separation provides insight into the relationships between characters and between on-screen events. When the boundaries are blurred between the two, a significant event is occurring in the film. “Naming themes,” a sub-3...
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