An Examination of the Musical Portrayal of the Robot in Twenty
Total Page：16
File Type：pdf, Size：1020Kb
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 WHEN THE INHUMAN BECOMES HUMAN: AN EXAMINATION OF THE MUSICAL PORTRAYAL OF THE ROBOT IN TWENTY-FIRST CENTURY SCIENCE-FICTION CINEMA THROUGH AN ANALYSIS OF THE FILM SCORES OF AUTOMATA, EX MACHINA, AND THE MACHINE Rebecca Ann O'Brien University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2019.232 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation O'Brien, Rebecca Ann, "WHEN THE INHUMAN BECOMES HUMAN: AN EXAMINATION OF THE MUSICAL PORTRAYAL OF THE ROBOT IN TWENTY-FIRST CENTURY SCIENCE-FICTION CINEMA THROUGH AN ANALYSIS OF THE FILM SCORES OF AUTOMATA, EX MACHINA, AND THE MACHINE" (2019). Theses and Dissertations--Music. 142. https://uknowledge.uky.edu/music_etds/142 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. I retain all other ownership rights to the copyright of my work. I also retain the right to use in future works (such as articles or books) all or part of my work. I understand that I am free to register the copyright to my work. REVIEW, APPROVAL AND ACCEPTANCE The document mentioned above has been reviewed and accepted by the student’s advisor, on behalf of the advisory committee, and by the Director of Graduate Studies (DGS), on behalf of the program; we verify that this is the final, approved version of the student’s thesis including all changes required by the advisory committee. The undersigned agree to abide by the statements above. Rebecca Ann O'Brien, Student Dr. Ronald Pen, Major Professor Dr. Michael Baker, Director of Graduate Studies WHEN THE INHUMAN BECOMES HUMAN: AN EXAMINATION OF THE MUSICAL PORTRAYAL OF THE ROBOT IN TWENTY-FIRST CENTURY SCIENCE-FICTION CINEMA THROUGH AN ANALYSIS OF THE FILM SCORES OF AUTOMATA, EX MACHINA, AND THE MACHINE ________________________________________ DISSERTATION ________________________________________ A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the College of Fine Arts at the University of Kentucky By Rebecca Ann O’Brien Lexington, Kentucky Director: Dr. Ronald Pen, Emeritus Professor of Music Lexington, Kentucky 2019 Copyright © Rebecca Ann O’Brien 2019 ABSTRACT OF DISSERTATION WHEN THE INHUMAN BECOMES HUMAN: AN EXAMINATION OF THE MUSICAL PORTRAYAL OF THE ROBOT IN TWENTY-FIRST CENTURY SCIENCE-FICTION CINEMA THROUGH AN ANALYSIS OF THE FILM SCORES OF AUTOMATA, EX MACHINA, AND THE MACHINE Science fiction film has been telling stories about artificial anthropomorphic robots and androids for almost a hundred years, spawning films, such as Metropolis (1927), Ghost in the Shell (1951), and Blade Runner (1982). Each of these science- fiction films was complemented by a musical score that helped to create an onscreen world dominated by a dystopian view of the future. Influenced by the generations of prior science-fiction films, Automata (2014), The Machine (2013), and Ex Machina (2015) are all concerned with the same narrative in which humanity is in decline while artificial robots are rising up and experiencing life in a way that humans are no longer capable of doing. These three films were all chosen as exemplars of recent science- fiction films with stories about robots versus humans. Further, this difference between robots and humans is paralleled in the film's musical scores. Humans are represented by depressive musical themes with dull and cold timbres that symbolize how empty they have become. Robots, on the other hand, are represented by bright and lively timbres that symbolize how the robots are living more vibrant lives than humans. This thesis traces themes for humans and robots through several important moments and tropes in each film: the state of humanity, the first encounter with the robot, the quality of life for robots and humans, and the eventual conflict that erupts between artificial and organic life. This conflict ends with the arrival of a robotic Eve figure, a sole female robot that is set apart by the film score as a special being, the start of a new age that is dominated by robotic life. These films choose to portray female robots and promote the idea of Eve because the female is seen as a mysterious Other to be feared; in the same way, humans fear these female robots because of their Otherness. Analysis and conclusions were achieved through transcription of the film scores, interviews with the film composers, analysis connecting the score to the visual scene, and constructing a historical context that connects the three films to their predecessors. KEYWORDS: Film music, robots, science-fiction film Future research can expand on these findings by adding more science fiction films to the film pool, examining just how far the musical difference between humans and robots can be traced in film. Unlocking the musical themes assigned to humans and examining how they change over time can reveal how humans perceive themselves, for better or worse. This study is also meant to serve as a gateway for more science fiction films to be studied through their music, as some film's have hidden meanings that can only be understood by examining the music and how it interacts with the visual scene. A study of Automata, The Machine, and Ex Machina manifests how humanity is making way for the robotic Eve and the next stage of evolution for the world. KEYWORDS: Film Music, Robots, Science-Fiction Cinema, Film, Soundtrack ___Rebecca Ann O’Brien____ (Name of Student) 05/31/2019________ Date WHEN THE INHUMAN BECOMES HUMAN: AN EXAMINATION OF THE MUSICAL PORTRAYAL OF THE ROBOT IN TWENTY-FIRST CENTURY SCIENCE-FICTION CINEMA THROUGH AN ANALYSIS OF THE FILM SCORES OF AUTOMATA, EX MACHINA, AND THE MACHINE By Rebecca Ann O’Brien Dr. Ronald Pen_____ Director of Dissertation Dr. Michael Baker____ Director of Graduate Studies 05/31/2019____ Date TABLE OF CONTENTS LIST OF TABLES ............................................................................................................. v LIST OF FIGURES .......................................................................................................... vi INTRODUCTION .............................................................................................................. 1 CHAPTER 1. REVIEW OF LITERATURE ...................................................................... 5 1.1 Cyborgs and Robots and the Body ......................................................................... 5 1.2 The Influence of Ghost in the Shell ........................................................................ 9 1.3 The Uncanny Valley ............................................................................................. 10 1.4 Writings on Film Music ........................................................................................ 12 1.5 Baudrillard and Heidegger .................................................................................... 17 1.6 Cyborgs and Blade Runner ................................................................................... 18 1.7 Artificial Intelligence ............................................................................................ 19 1.8 Origins of Science Fiction in Film ........................................................................ 20 1.9 Theoretical Framework ......................................................................................... 25 1.10 Chapter Overview ................................................................................................. 26 CHAPTER 2. BACKGROUND OF SCIENCE-FICTION FILM AND FILM MUSIC .. 28 2.1 What is Science Fiction? ....................................................................................... 28 2.2 Separating Science Fiction from Horror ............................................................... 29 2.3 Separating Science Fiction from Fantasy ............................................................. 31 2.4 Music in Silent Film and Sound Film ................................................................... 32 2.5 Development of Film Music for Science Fiction .................................................. 34 2.6 Science Fiction in Literature ................................................................................. 35 2.7 Science Fiction in Film ......................................................................................... 41 2.7.1 The Early