Music and method in the films of Elia Kazan

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dc.contributor.author Camp, Gregory en
dc.coverage.spatial University of Waikato Conservatorium of Music. Hamilton, New Zealand en
dc.date.accessioned 2017-02-13T02:11:48Z en
dc.date.issued 2016-11-20 en
dc.identifier.citation Camp, G. L. (2016). Music and method in the films of Elia Kazan. In New Zealand Musicological Society Annual Conference: Contemporary and future paths in music performance, composition and analysis. University of Waikato Conservatorium of Music. Hamilton, New Zealand. en
dc.identifier.uri http://hdl.handle.net/2292/31810 en
dc.description.abstract Elia Kazan is seen as the quintessential “method” director, at the forefront of putting Stanislavsky’s theories of acting into practice in American stage and film in the 1940s and 50s. Kazan summed up his philosophy of directing by stating that direction is “turning psychological events into behaviour, inner events into visible, external patterns of life on stage” (A Life, 90). Kazan’s sensitive use of music was one way by which this transformation from inner psychology to outer behaviour was effected. This paper examines how Kazan’s composer collaborators achieved this process through music in three of his middle-period films. Alex North’s score for A Streetcar Named Desire (1951) attempts to get inside the mind of protagonist Blanche Dubois through the juxtaposition of varied types of music, reflecting the character’s de-centred sense of her own identity. An analysis of the musical motives of Leonard Bernstein’s score for On the Waterfront (1954) will then show that character motivations can be mirrored by means of an organically “unified” score. Finally, Kenyon Hopkins’ understated score for Wild River (1960) serves to focus our attention on the film’s characters’ quietly intense desires and relationships. While music is usually seen only as a narrative mechanism in film, shifting our focus to music’s role in conveying character psychology offers a new approach to “audio-vision”. Kazan’s intense interest in character motivation makes his oeuvre an ideal case study for the application of this approach. en
dc.relation.ispartof New Zealand Musicological Society Annual Conference: Contemporary and future paths in music performance, composition and analysis en
dc.rights Items in ResearchSpace are protected by copyright, with all rights reserved, unless otherwise indicated. Previously published items are made available in accordance with the copyright policy of the publisher. en
dc.rights.uri https://researchspace.auckland.ac.nz/docs/uoa-docs/rights.htm en
dc.title Music and method in the films of Elia Kazan en
dc.type Conference Item en
dc.rights.holder Copyright: The author en
pubs.author-url http://musicologynz.org.nz/Conferences.htm en
pubs.finish-date 2016-11-20 en
pubs.start-date 2016-11-19 en
dc.rights.accessrights http://purl.org/eprint/accessRights/RestrictedAccess en
pubs.subtype Conference Paper en
pubs.elements-id 546613 en
pubs.org-id Creative Arts and Industries en
pubs.org-id Music en
pubs.record-created-at-source-date 2016-11-21 en


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