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Edvard Grieg Masarykova univerzita Filosofická fakulta Ústav filmu a audiovizuální kultury Teorie a dějiny filmu a audiovizuální kultury Zuzana Macháčková (FAV/FSS: MSŽ (DIG), bakalářské prezenční studium) Minimalismus Philipa Glasse v experimentálním dokumentu: Analýza hudebně-obrazových vztahů ve filmech Godfreyho Reggia. Bakalářská diplomová práce Vedoucí práce: PhDr. Jaromír Blažejovský, Ph.D. Brno 2011 Prohlašuji, že jsem pracovala samostatně a použila jen uvedených zdrojů. ………………………… V Brně 21. dubna 2011 Zuzana Macháčková Na tomto místě bych ráda poděkovala vedoucímu práce PhDr. Jaromíru Blažejovskému za podnětné rady, připomínky a odborné vedení práce. Poděkování patří také odbornému konzultantovi Mgr. art. Stanislavu Grichovi, docentu Miroslavu Jankovi za poskytnutý čas a rozhovor, a Bc. Martinu Polákovi za doporučení literatury. Obsah 1. Úvod .................................................................................................................................................... 2 1. 1. Literatura k dějinám a teorii filmové hudby ................................................................................ 4 2. Terminologie a metodologie analýzy – Zofia Lissa, Philip Tagg, Juraj Lexmann .............................. 5 3. Godfrey Reggio a jeho filmy ............................................................................................................. 10 4. Teoretický koncept hudebního minimalismu .................................................................................... 12 4. 1 Co je minimalismus? .................................................................................................................. 12 4. 2. Philip Glass ................................................................................................................................ 12 4. 3. Estetika a filosofie minimalismu – Petr Kofroň, Eero Tarasti ................................................... 13 5. Analýzy filmů .................................................................................................................................... 18 5. 1 Evidence ...................................................................................................................................... 18 5. 2 Anima Mundi .............................................................................................................................. 19 5. 3. Koyaanisqatsi ............................................................................................................................ 24 5. 4 Powaqqatsi ................................................................................................................................. 28 5. 5 aqoyqatsi .................................................................................................................................. 29 5. 6 Analýza funkcí podle Zofie Lissy ............................................................................................... 32 5. 7 Žánrové konvence a forma ......................................................................................................... 33 5. 8 Interpretace a významy ............................................................................................................... 34 6. Spiritualita.......................................................................................................................................... 35 7. Produkce a recepce ............................................................................................................................ 37 8. Závěr .................................................................................................................................................. 40 9. Resumé .............................................................................................................................................. 41 10. Použitá literatura a prameny: ........................................................................................................... 43 I. Literatura: ....................................................................................................................................... 43 II. Prameny: ....................................................................................................................................... 45 11. Filmografie ...................................................................................................................................... 46 12. Přílohy.............................................................................................................................................. 47 1 1. Úvod Filmová hudba se stává stále častěji předmětem uměnovědných, kulturně-teoretických i mediálních studií. V současnosti existuje velké množství publikací a textů zabývajících se jejími dějinami i teorií, ale samotná analýza tohoto typu hudby ve spojení s obrazem je stále poměrně novým a neprobádaným polem zájmu. Pro analýzu filmu se ukázala být nejužitečnější neoformalistická analýza, jejíž terminologii a metodologii v knize Film Art: An Introduction 1 popsali David Bordwell a Kristin Thompsonová, která navíc tématu věnovala i svou další knihu Breaking the Glass Armor.2 Jejich práce je funkčním návodem k analytickému myšlení aplikovatelnému na fikční i nonfikční film. Bordwell a Thompsonová se ale zabývají zejména formálními, naračními a kinematografickými postupy, o hudbě se zmiňují pouze v kapitole věnované zvuku. Zvuk ve filmu lze analyzovat z hlediska časoprostorových vztahů a diegeze, hudba však vyžaduje postupy mnohem složitější, protože na rozdíl od různých hluků, šumů a dalších nehudebních projevů má svou formu, harmonii, melodii, rytmus, vztah k tonalitě 3 a je tedy uměním sama o sobě, nikoli pouze doplňujícím prvkem v celku, jakým je diegetický zvuk. 4 Předmětem práce je soubor filmů, z nichž tři jsou spojeny v trilogii, tematicky a stylově velmi úzce propojeny, a druhé dva se liší tématem, ale na trilogii volně navazují. Všechny filmy jsou autorskými díly režiséra Godfreyho Reggia a minimalistického skladatele Philipa Glasse. Jedná se o snímky Koyaanisqatsi , Powaqqatsi , aqoyqatsi , Anima Mundi a krátký film Evidence . Ve většině filmů je hudební skladatel pouze jednou z mnoha důležitých osob, které se na filmu podílely, a často zůstává diváky zcela nepovšimnut. Ve společné tvorbě Godfreyho Reggia a Philipa Glasse je vztah režisér-skladatel stejně výrazný jako v jiných filmech vztah režisér-scénarista. Hudba a obraz zde mají rovnoprávné funkce, které jsou neoddělitelné jedna od druhé v rámci působení filmu jako díla. 1 Bordwell, David – Thompson, Kristin (2008): Film Art: An Introduction. Eighth Edition . Boston: McGraw- Hill. 2 Thompson, Kristin (1988): Breaking the Glass Armor. eoformalist Film Analysis. Princeton, New Jersey – Oxford: Princeton University Press. 3 Některá hudba se vymezuje vůči jakékoli známé tonalitě tím, že je atonální. Teorii atonální hudby rozvinul Arnold Schönberg a druhá vídeňská škola. Vedle těchto dvou základních protikladů existuje hudba polytonální, kde v jedné skladbě zní více tónin, z nichž „každá ovládá některou z horizontálních vrstev hudební faktury.“ [Slovník české hudební kultury – heslo polytonalita. <http://www.ceskyhudebnislovnik.cz/chs/entry.php?id=1448> (cit. 25. 2. 2011).] 4 Součástí zvukové složky jsou samozřejmě i dialogy a monology, ty jsou však obecně charakterizovány zcela jinými vlastnostmi, specifickými pro verbální projev. Přesto mohou být verbální texty součástí hudebního projevu, nejčastěji v muzikálech a hudebních filmech, kde například z hlediska rytmiky a melodie nacházíme ve vokální hudbě paralely k řeči. 2 Ve filmech není přítomna žádná narace ani herci, jak si je běžně představujeme, lidé se objevují pouze jako součást prostředí. Práce bude zkoumat způsob, jakým fungují v těchto filmech hudebně-obrazové vztahy. Jaký mají vliv na formu 5 díla, jak souvisí hudba s ostatními kinematografickými technikami konkrétního filmu a jaké významy toto spojení vytváří. Filmová hudba byla dosud zkoumána zejména z hlediska svých dějin. 6 Další přístup se týká analýzy mediálních obsahů, která je vhodná pro studia vizuální kultury zkoumající veškeré formy vizuálních a audiovizuálních děl z hlediska sémiotiky. Mediální analytikové hledají ve vizuálním umění skryté významy a ideologie, předmětem jejich zkoumání bývá většinou reklama, plakáty, zpravodajství, ale také sochy, obrazy a film. 7 Neoformalistická analýza se přiklání k jinému postupu, jejím cílem je zkoumat film jako umění a skrze detailní rozbor struktury a filmových technik pochopit, jak film jako umění funguje. Interpretace je tedy jen jednou z mnoha součástí neoformalistické analýzy a ne jejím cílem. Třetím přístupem je sociologický výzkum účinků hudby na posluchače nebo diváka, tento postup aplikovaný na filmovou hudbu rozvíjí zejména britský muzikolog Philip Tagg, který zkoumá asociace při poslechu ukázek hudby z filmů, TV seriálů a pop music. Dosavadní výsledky zveřejnil v rozsáhlé studii Ten Little Title Tunes.8 Zaměření práce bude částečně založeno také na neoformalistické analýze, ale jako celek bude pojata interdisciplinárně. Důležitým východiskem budou teoretické práce od muzikologů, hudebních skladatelů a dramaturgů poskytující potřebnou terminologii a návod k analytickému zkoumání filmové hudby ve spojení s obrazem. Práce je rozdělena na dvě části, první je teoretická a vysvětluje použité terminologické koncepty, pozadí zvolených filmů a estetiku minimalistické hudby. Veškeré citace z cizojazyčné literatury jsou vlastním překladem autorky.
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