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Disstext 13. April Ohne Einstellungsgrafik Grenzüberschreitungen: Zum Verhältnis von Bild und Musik in Jim Jarmuschs DEAD MAN Inauguraldissertation zur Erlangung eines Grades des Doktors der Philosophie im Fachbereich Sprach- und Kulturwissenschaften der Johann-Wolfgang-Goethe-Universität zu Frankfurt am Main vorgelegt von Simon Kopp aus Heidelberg 2006 (Einreichungsjahr) 2010 (Erscheinungsjahr) ______________________________________________ 1. Gutachterin: Prof. Dr. Regine Prange 2. Gutachter: Prof. Dr. Henry Keazor Tag der mündlichen Prüfung: 30.11.2006 Danksagung Mein Dank geht an alle Personen, die die vorliegende Arbeit in den unterschiedlichsten Funktionen begleitet und zur Entstehung beigetragen haben. Herauszuheben sind die Betreuer der Arbeit, Prof. Regine Prange und Prof. Henry Keazor, denen ich für Anleitung, Rat und Vertrauen danken möchte. Regine Prange möchte ich dabei ausdrücklich für die grundlegende Idee danken, den Fokus auf den Einsatz von Musik bei Jarmusch zu legen. Ebenfalls danken möchte ich Prof. Linda Maria Koldau und Prof. Adolf Nowak, die im Rahmen der Disputation wertvolle Hinweise zur weiteren Ausarbeitung gegeben haben. Von Henning Engelke und Bodo Winterroth kamen während der Ausarbeitung der Arbeit ebenfalls wichtige Anregungen, für die ich mich bedanken möchte, wie auch bei Gero Schneider und Tobias Scholz sowie dem Graduiertenkolleg „Psychische Energien bildender Kunst“. In erster Linie gebührt jedoch meinen Eltern Dank, ohne deren Unterstützung diese Arbeit nicht möglich gewesen wäre. 1. Einleitung ................................................................................................................................... 1 2. Musik im Film: Konvention und Innovation der audiovisuellen Gestaltung.................... 14 2. 1. Standardisierung der Beziehung von Bild und Musik .......................................................... 16 2. 2. Die Dialektik von Bild und Musik ........................................................................................ 20 2. 3. Aspekte der Transzendenz .................................................................................................... 23 2. 4. Kontinuität mittels Musik...................................................................................................... 27 2. 5. Die Leitmotivtechnik............................................................................................................. 32 2. 6. Der Theme-Song ................................................................................................................... 39 2. 7. Die Baukastentechnik............................................................................................................ 45 3. „I put a spell on you“: Musik in den Filmen Jim Jarmuschs.............................................. 55 3. 1. Kennzeichen des Musikalischen bei Jarmusch ..................................................................... 55 3. 2. Das Verhältnis von Bild und Musik am Motiv der Reise ..................................................... 62 4. Inhaltsangabe DEAD MAN ...................................................................................................... 76 5. Formen der Spiegelung und des Echos in der Anfangssequenz.......................................... 79 5. 1. Der Prozess der Spiegelung: Bild und Musik ....................................................................... 79 5. 1. 1. Der musikalische Bildspiegel als Raumkonstruktion............................................... 79 5. 1. 2. Revision der Genrekonventionen............................................................................. 84 5. 2. Rhythmus und Echo: die Wahrnehmung der Zeit................................................................. 93 5. 2. 1. Der filmische Rhythmus nach Andrej Tarkowskij................................................... 93 5. 2. 2. Gegenwart, Vergangenes, Wiederkehr: Das Echo ................................................. 101 6. Die Qualität der Zersetzung ................................................................................................. 114 6. 1. Die Spaltung der Zeit .......................................................................................................... 114 6. 2. Die Fragmentierung des musikalischen Materials .............................................................. 122 7. Der Grenzgang der Wiederholung ...................................................................................... 132 7. 1. Die Referenzleistung der Musik.......................................................................................... 133 7. 2. Die Inkonsistenz der Referenzleistung................................................................................ 138 7. 3. Die audiovisuelle Einheit als Spaltung................................................................................ 140 7. 4. Parallelwelten einer orphischen Dimension........................................................................ 145 7. 5. Der Bezug zur Poesie William Blakes ................................................................................ 151 8. Zusammenfassung................................................................................................................. 165 9. Filmographie.......................................................................................................................... 171 10. Abbildungsverzeichnis........................................................................................................ 185 11. Bibliographie........................................................................................................................ 186 Anhang - Sequenzprotokoll - Einstellungsgrafik Abb. 1: Jimi Hendrix Abb. 2 : DEAD MAN (1995) 1. Einleitung Es ist die prototypische Geste eines Rockstars. Die Augen geschlossen, sich ganz auf das ekstatische Spiel konzentrierend, das mit beiden Händen umklammerte Instrument fungiert als Mittelpunkt und Verlängerung des Körpers. Dieser Körper scheint vom Instrument in Besitz genommen, er windet sich zu den Klängen, als versuche er, das zunehmend sich verselbständigende Instrument noch zu bändigen. Die Körperlichkeit dieses Spiels verortet das Geschehen noch im Hier und Jetzt, während der entrückte Geist längst in Sphären außerhalb fixierbarer Raum- und Zeitgrenzen vorgedrungen ist. Es ist nicht die stereotype Figur des Indianers. Keine sentimentale Zeichnung des noble savage, denn dieser Mann hat nur wenige Sekunden zuvor einem Weißen die Kehle durchgeschnitten. Aber, auch wenn dieser Indianer entschlossen um seinen Lebensraum kämpft, ist er ebenso wenig eine Personifizierung des primitive savage. Statt mit dem Gewehr seines Opfers zielsicher einen nach dem anderen der nun auf ihn einstürzenden Weißen ins Jenseits zu befördern, betrachtet er eigentümlich unbeteiligt die Waffe, aus der sich plötzlich unbeabsichtigt ein Schuss löst. Dieser unter johlendem Aufschrei in gitarristenähnlicher Pose abgefeuerte Schuss rettet ihm und seinem Begleiter das Leben. Davon abgesehen, dass dieser Indianer ein exzellenter Kenner der Poesie William Blakes ist, die er auswendig zitieren kann, werden blutrünstige Wilde gewöhnlich anders in Szene gesetzt. Begleitet wird diese Szene aus Jim Jarmuschs DEAD MAN (1995) von einer kalt klirrenden E-Gitarre, die deutlich mit den von Claudia Gorbman als unheard melodies bezeichneten filmmusikalischen Konventionen bricht.1 (vgl. Abb. 1 und 2) Musik spielt als hervorgehobenes ästhetisches Gestaltungsmittel eine entscheidende Rolle für das Verständnis von DEAD MAN. Der besondere Stellenwert von Musik durchzieht Jarmuschs Gesamtwerk, wird aber vor allem in DEAD MAN deutlich: Mit Diedrich Diederichsen ist der Film als ein Geflecht „von Bezügen aus Kafka, Blake, Homer und Rock-Musik“2 zu sehen. Es wurde mit Neil Young nicht nur ein anerkannter Künstler für den score gewonnen und es treten auch nicht nur Musiker als Schauspieler auf (Iggy Pop sowie Gibby Haynes, ehemaliger Sänger der „Butthole Surfers“), der Film ist darüber hinaus 1 Vgl. Gorbman (1987). 2 Diederichsen (2001), S. 237. 1 mit diversen musikalischen Allusionen gespickt: So ist beispielsweise ein Nebendarsteller nach Lee Hazlewood, dem amerikanischen Sänger und Songwriter, benannt. Weiter ist die Kombination der Nachnamen zwei weiterer Handlungsfiguren (Cole Wilson und Johnny ‚The Kid’ Pickett) Referenz auf den Soulsänger Wilson Pickett. Ebenso taucht James Browns Song „Talkin’ Loud and Sayin’ Nothin’“ im Namen des indianischen Hauptdarsteller Xebeche auf, das soviel wie „He who talks saying nothing“ bedeutet.3 Höchst ungewöhnlich war zudem die Entstehung des score, die Musik wurde von Young live während einer Projektion des Filmes eingespielt: So what he did was set up this big warehouse in San Francisco with a big screen and a lot of monitors and all his instruments miked and everthing running to a remote truck. Neil insisted on playing live to a two-and-a-half rough cut like guys used to do with silent movies. Neil said, ”To me, the movie is my rhythm section and I will add a melody to that.” He played three times straight through the film over a two-day period. Neil was completely focused and laid down three different tracks all the way through the film. Then he did a few other little pieces for the titles and then he came to New York and we picked which takes of the three should go where. The music organically connected Neil’s emotional reaction to the film.4 Abgesehen von der Stummfilmzeit wurde diese Methode nur in Ausnahmefällen verwendet, z. B. bei ASCENCEUR POUR L’ÈCHAFAUD
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