IRIS publication 215228267
Audio-visual Musicality and Reflexive Cinema in Joe Wright's "Anna Karenina"
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TY - CONF - Kulezic-Wilson, Danijela - Music and the Moving Image - Audio-visual Musicality and Reflexive Cinema in Joe Wright's "Anna Karenina" - New York University Steinhardt - Oral Presentation - 2013 - () - 0 - 31-MAY-13 - 02-JUN-13 - The exploration of musical aspects of the film medium has in recent years often been paired with reflexive modes of cinema. Most famously this tendency has been expressed through communication with other texts, as exemplified by the intertextual forms of Tarantino and Baz Luhrman, while other instances of musical filmmaking have been associated with self-conscious treatment of film form and narration, as in films by Aronofsky (Requiem for a Dream), Tykwer (Run, Lola, Run), Jarmusch (The Limits of Control) and most recently in Joe Wright’s Anna Karenina (2012).This latest screen adaptation of Tolstoy’s novel not only takes the based-on-a-book-period-drama away from the conventions of this sub-genre into an extraordinarily stylized, choreographed, musicalized and extravagant narrative domain marked by reflexivity and self-consciousness, but also seems to be influenced as much by the idea of theatre as music as by the musicality of postmodern cinema. While confining the diegetic realm of the Russian aristocratic circle to an artificial theatre space, Wright uses unrestrained access to the proscenium, stage and backstage, and a virtuosic mise-en-scene reminiscent of Complicite theatre productions, in order to evoke a symbolic collapse of the barriers between diegetic and non-diegetic, replacing the mediation of classical narration with reflexive form. In the light of the fact that most critics failed to recognize or respond to Wright’s methods, referring to them as an “extreme stylization” that prevented audiences from identifying with the famous heroine, my paper explores the connection between the self-consciousness of cinematic form and its musicality, arguing that Wright’s emphasized artificiality does not abandon the idea of immersive form but rather trades the suture of classical narration for the hypnoticism of aestheticized, musical cinematic form. - CACSSS Research Support Fund; Department of Music Research Fund DA - 2013/NaN ER -
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@unpublished{V215228267, = {Kulezic-Wilson, Danijela }, = {Music and the Moving Image}, = {{Audio-visual Musicality and Reflexive Cinema in Joe Wright's "Anna Karenina"}}, = {New York University Steinhardt}, = {Oral Presentation}, = {2013}, = {()}, = {0}, month = {May}, = {02-JUN-13}, = {{The exploration of musical aspects of the film medium has in recent years often been paired with reflexive modes of cinema. Most famously this tendency has been expressed through communication with other texts, as exemplified by the intertextual forms of Tarantino and Baz Luhrman, while other instances of musical filmmaking have been associated with self-conscious treatment of film form and narration, as in films by Aronofsky (Requiem for a Dream), Tykwer (Run, Lola, Run), Jarmusch (The Limits of Control) and most recently in Joe Wright’s Anna Karenina (2012).This latest screen adaptation of Tolstoy’s novel not only takes the based-on-a-book-period-drama away from the conventions of this sub-genre into an extraordinarily stylized, choreographed, musicalized and extravagant narrative domain marked by reflexivity and self-consciousness, but also seems to be influenced as much by the idea of theatre as music as by the musicality of postmodern cinema. While confining the diegetic realm of the Russian aristocratic circle to an artificial theatre space, Wright uses unrestrained access to the proscenium, stage and backstage, and a virtuosic mise-en-scene reminiscent of Complicite theatre productions, in order to evoke a symbolic collapse of the barriers between diegetic and non-diegetic, replacing the mediation of classical narration with reflexive form. In the light of the fact that most critics failed to recognize or respond to Wright’s methods, referring to them as an “extreme stylization” that prevented audiences from identifying with the famous heroine, my paper explores the connection between the self-consciousness of cinematic form and its musicality, arguing that Wright’s emphasized artificiality does not abandon the idea of immersive form but rather trades the suture of classical narration for the hypnoticism of aestheticized, musical cinematic form. }}, = {CACSSS Research Support Fund; Department of Music Research Fund}, source = {IRIS} }
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AUTHORS | Kulezic-Wilson, Danijela | ||
TITLE | Music and the Moving Image | ||
PUBLICATION_NAME | Audio-visual Musicality and Reflexive Cinema in Joe Wright's "Anna Karenina" | ||
LOCATION | New York University Steinhardt | ||
CONFERENCE_TYPE | Oral Presentation | ||
YEAR | 2013 | ||
TIMES_CITED | () | ||
PEER_REVIEW | 0 | ||
START_DATE | 31-MAY-13 | ||
END_DATE | 02-JUN-13 | ||
ABSTRACT | The exploration of musical aspects of the film medium has in recent years often been paired with reflexive modes of cinema. Most famously this tendency has been expressed through communication with other texts, as exemplified by the intertextual forms of Tarantino and Baz Luhrman, while other instances of musical filmmaking have been associated with self-conscious treatment of film form and narration, as in films by Aronofsky (Requiem for a Dream), Tykwer (Run, Lola, Run), Jarmusch (The Limits of Control) and most recently in Joe Wright’s Anna Karenina (2012).This latest screen adaptation of Tolstoy’s novel not only takes the based-on-a-book-period-drama away from the conventions of this sub-genre into an extraordinarily stylized, choreographed, musicalized and extravagant narrative domain marked by reflexivity and self-consciousness, but also seems to be influenced as much by the idea of theatre as music as by the musicality of postmodern cinema. While confining the diegetic realm of the Russian aristocratic circle to an artificial theatre space, Wright uses unrestrained access to the proscenium, stage and backstage, and a virtuosic mise-en-scene reminiscent of Complicite theatre productions, in order to evoke a symbolic collapse of the barriers between diegetic and non-diegetic, replacing the mediation of classical narration with reflexive form. In the light of the fact that most critics failed to recognize or respond to Wright’s methods, referring to them as an “extreme stylization” that prevented audiences from identifying with the famous heroine, my paper explores the connection between the self-consciousness of cinematic form and its musicality, arguing that Wright’s emphasized artificiality does not abandon the idea of immersive form but rather trades the suture of classical narration for the hypnoticism of aestheticized, musical cinematic form. | ||
FUNDED_BY | CACSSS Research Support Fund; Department of Music Research Fund |