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THE CATHOLIC UNIVERSITY OF AMERICA Preexisting Music as a Disruptive Element in Historical Fiction Film A DISSERTATION Submitted to the Faculty of the Benjamin T. Rome School of Music Of The Catholic University of America In Partial Fulfillment of the Requirements For the Degree Doctor of Philosophy by Christopher Adam Booth Washington, D.C. 2017 Preexisting Music as a Disruptive Element in Historical Fiction Film Christopher Adam Booth Director: Andrew H. Weaver, Ph.D. Abstract The study of film music has become a significant discipline within musicology and film studies. While preexisting music has gained considerable popularity in recent cinema practice, early cinema used preexisting music sparingly. As a result, academic study of film music has largely engaged the subject of the classical Hollywood score, or a musical work designed to complement a specific film. Throughout the twentieth century, filmmakers expanded the art form in new and creative ways; one such undertaking was to use alternate music selections that could contribute deeper sources of meaning. In the new millennium, preexisting music in film has become something of a new standard, and scholars have recently begun to address these features. Though preexisting music does not impart significant meaning in every case, it is worth considering when, how, and in what ways preexisting music can bring denotative and connotative material alongside it. Such an additive meaning may not only enhance narrative signification, as is the general practice of the classical Hollywood score, but in some cases, meaning can be altered via the expression of social, cultural, economic and/or political associations stemming from the music’s origins. Historical fiction film presents, but is not limited to, narratives hinged upon true historical events or actual persons from history, while in many cases theorizing specific interactions that are not historically documented. As fictionalized narratives, they offer insight into what could have been, or what history might not tell us. Like any cinematic genre, historical fiction film includes classical scoring techniques and/or preexisting music. Musicological research has provided clear ways to evaluate whether a historical film includes accurately contemporaneous music. Interestingly, this is usually not the case. Filmmakers have largely depended on nineteenth-century compositional conventions, even to accompany narrative from previous centuries. In special cases, musical sources can contribute to a given scene or situation by addressing contemporaneousness itself. As such, the historical fiction film provides its own unique area of inquiry. The intent of this dissertation is to provide close readings of three historical fiction films, Martin Scorsese’s Gangs of New York (2002), Sofia Coppola’s Marie Antoinette (2006), and Quentin Tarantino’s Django Unchained (2012). Each of these films use a considerable number of preexisting musical sources from various eras and with diverse musical styles. By examining connotative and denotative values of the preexisting musical sources in each, I attempt to interpret the intertextual relationship between image, dialogue, narrative, and music. This dissertation by Christopher Adam Booth fulfills the dissertation requirement for the doctoral degree in Musicology approved by Andrew H. Weaver, Ph.D., as Director, and by Christina Taylor Gibson Ph.D., Robert A. Baker, Ph.D., and Naaman Wood, Ph.D. as Readers. ________________________ Andrew H. Weaver, Ph.D., Director ________________________ Christina Taylor Gibson, Ph.D., Reader ________________________ Robert A. Baker, Ph.D., Reader ________________________ Naaman Wood, Ph.D., Reader ii Dedication For my daughters, Cadence and Cameron iii Table of Contents Signature Page ii Dedication iii Table of Contents iv Acknowledgements vii I. Chapter One: Project Introduction 1 I.1 Introduction 1 I.2 Review of Literature 3 I.3 Definitions and Delimitation of Terms 9 I.4 Dissertation Outline 13 II. Chapter Two: The Cinematic Suture and Functions of Preexisting Music 15 II.1 Suture Theory and Film Music 15 II.1.1 Alfred Hitchcock’s Psycho (1960) 19 II.1.2 Cinematic Suture in Music 32 II.2 Elitism and Preexisting Music in Film 34 II.2.1 Classic Examples of Preexisting Music with Additive Meaning 41 II.2.1a Strauss’s Also sprach Zarathustra 41 II.2.1b Mendelssohn and Wagner: Wedding Music 43 II.2.1c Grieg’s “In the Hall of the Mountain King” 44 II.2.2 Elitism and Preexisting Music with Unnecessary Additive Meaning 48 II.2.3 Elitism and Preexisting Music with Extradiegetic Reference 50 II.2.4 Elitism and Preexisting Music that Alters or Enhances Meaning 57 II.2.4a Music as Irony: A Clockwork Orange (1971) and Reservoir Dogs (1992) 57 II.2.4b Music as Narrative Predictor: Get Smart (2008) 60 II.2.4c Music as Character Analysis 62 II.2.4c1 Character Elitism Extended through Music: Planes, Trains & Automobiles (1987) 65 II.2.4c2 Social and Religious Character Expression: Ida (2013) 66 II.2.4c3 Character as Synecdoche for Socioeconomic Crisis: Shaun of the Dead (2004) 71 II.2.4d Music as Social Commentary: Denial (2016) and Get Out (2017) 78 II.3 Conclusions 92 iv III. Chapter Three: A Feminist Reading of Preexisting Music in Sofia Coppola’s Marie Antoinette (2006) 94 III.1 Coppola’s Marie Antoinette 94 III.1.1 Plot Summary 95 III.1.2 Music in Marie Antoinette 97 III.1.3 Feminist Film Criticism and Psychoanalysis 102 III.1.4 Film Reviews and Heteropatriarchy 107 III.1.4a Reviews of Marie Antoinette 108 III.2 Feminist Criticism and Suture 112 III.2.1 The Ideological State Apparatus and Suture 115 III.2.2 Marie Antoinette: Opening Credits 123 III.3 Contemporaneous Music in Marie Antoinette 130 III.3.1 Contemporaneous Music as Score 132 III.3.1a Vivaldi’s Concerto “alla rustica” 135 III.3.1b Rameau’s “Tristes apprêts, pâles flambeaux” 141 III.3.2 Other Contemporaneous Music 152 III.3.2a Rameau’s “Les Guerriers et les Amazones” from Les Indes galantes 152 III.3.2b Rameau’s “Aux lagueurs d'Apollon” 155 III.3.3 Marie Antoinette as Composer, Antoinette as Performer 159 III.4 Anachronistic Music in Marie Antoinette 166 III.4.1 General use of Anachronistic Music in Marie Antoinette 167 III.4.2 “I Want Candy” and Masquerade 177 III.4.3 “Hong Kong Garden” and Anachronistic Orchestration 186 III.4.4 “Aphrodisiac,” “Fools Rush In,” and the Female Gaze 194 III.4.5 “Kings of the Wild Frontier” and Sexual Freedom 199 III.4.6 “All Cats are Grey” and Concealed Sexuality 203 III.5 Dustin O’Halloran’s music and Filmic Gestalt 207 III.6 Conclusions 214 III.6.1 A Final Disruption 215 IV. Chapter Four: Intertextuality and Metacinema: Preexisting Music in Quentin Tarantino’s Django Unchained (2012) 222 IV.1 Django Unchained: The Film and its Music 222 IV.1.1 Critical and Scholarly Reception 224 IV.1.2 Tarantino, Music, and Cinematic Suture 228 IV.1.3 Plot Summary 232 IV.2 Functions of Preexisting Music in Django Unchained 240 IV.2.1 Tarantino after Corbucci: Title Credits 240 IV.2.2 Enlightenment Iconography, Bacalov, and the Rebirth of Django as Hero 241 IV.2.3 Verdi and an Allohistory of the Proto-Klan 255 IV.2.4 Dr. King Schultz and German Idealism: Beethoven, Schurz, and Herder 265 IV.2.4a: Schurz and the Question of Marxism 270 IV.2.4b: Herder: Humanism and Expressivism 271 IV.2.4c: Beethoven’s effect on Schultz/Schurz 278 IV.2.4d: The Presence of the Harp 286 IV.2.4e: Siegfried and Schultz’s Martyrdom 288 IV.2.4f: Blood on White Surfaces 291 IV.2.4g: The Double Quotation of Für Elise 293 v IV.2.5 Django as Intertextual Hero 295 IV.2.5a Havens’s “Freedom,” Dumas’s L’Homme au Masque der Fer, and Cash’s “Ain’t no grave” 295 IV.2.5b Antiquity, Paradoxical Humanism, and Bluegrass 302 IV.2.5c The Showdown, A Hymn of Mourning, and the New Siegfried 308 IV.2.5d “They Call Me Trinity” as Auteurial Signature 311 IV.3 Conclusions 320 V. Chapter Five: Tracking Nationalism in Film via Preexisting Music: 324 Scorsese’s Gangs of New York V.1 Cultural and Exclusionary Nationalism in Nineteenth-Century Germany 324 V.1.1 Cultural Nationalism and Johann Gottfried Herder 324 V.1.2 Exclusionary Nationalism and Richard Wagner 329 V.2 Nationalism in Film and Music 335 V.2.1 Wagner and Nationalism in Film 335 V.2.2 Gesamtkunstwerk, Bayreuth, and Cinema 335 V.2.3 The Birth of a Nation, Parsifal, and the Third Reich 329 V.3 Nationalist Music and Populism in Scorsese's Gangs of New York 353 V.3.1 Plot Summary 357 V.3.2 Reception 364 V.3.3 Preexisting Music in Gangs of New York: 1. Laments 368 V.3.4 Preexisting Music in Gangs of New York: 2. Music as Social Commentary 377 V.3.5 Preexisting Music in Gangs of New York: 3. Racial and National Fusion 386 V.3.5a “Shimmy She Wobble” 389 V.3.5b “Murderer’s Home” and “Drummer’s Reel” 391 V.3.5c “Poontang Little, Poontang Small” and “Dark Moon, High Tide” 397 V.3.5d “Late at Midnight, Just a Little 'Fore Day” 399 V.4 Conclusions 403 VI. Conclusion 408 Appendices 412 Filmography 445 Bibliography 450 vi Acknowledgements I am grateful to several individuals for their help with this project, and I would like to take this opportunity to thank them. First, I am extremely grateful to Dr. Andrew Weaver for several reasons. He is one of the finest music instructors I have ever known, and I benefitted greatly from each of his courses that I was able to take.
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