Music and Narrative in Stanley Kubrick’s Eyes Wide Shut
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This paper analyzes the use of music in Stanley Kubrick’s final work Eyes Wide Shut (1999) and examines the relationship between music and narrative. Music and narrative in Eyes Wide Shut are completely intertwined and confuse the audience between the diegetic and the non-diegetic of the filmic world. In the film, it is noteworthy that Nick Nightingale, the protagonist Bill’s former fellow student is a musician and he seduces Bill to an orgy. To date, most research on Eyes Wide Shut has focused either on its literature adaptation or on the content of the film music. By contrast, this paper targets the form of music use in the film. Combining “le grand imagier” by Albert Laffay with the apparatus theory by Jean-Louis Baudry, this paper investigates the primitive filmic narrator and compares it to the narrator in literature. Significantly, Kubrick juxtaposed not only classic music with popular one, but also vocal music with instrumental one in Eyes Wide Shut. In addition, he applied both original and preexisting music to the film. By doing this, he created a cinema which blurs the boundary between the diegetic and the non-diegetic and provides the audience with a daydreaming experience. If Kubrick innovated cinema experience with 2001: A Space Odyssey (1968) by applying classic music to his visual, in Eyes Wide Shut, he developed a cinematic narrative form further from the tradition of literature and early cinema, for which music plays an active as well as significant role.
Abstract
This paper analyzes the use of music in Stanley Kubrick’s final work Eyes Wide Shut (1999) and examines the relationship between music and narrative. Music and narrative in Eyes Wide Shut are completely intertwined and confuse the audience between the diegetic and the non-diegetic of the filmic world. In the film, it is noteworthy that Nick Nightingale, the protagonist Bill’s former fellow student is a musician and he seduces Bill to an orgy. To date, most research on Eyes Wide Shut has focused either on its literature adaptation or on the content of the film music. By contrast, this paper targets the form of music use in the film. Combining “le grand imagier” by Albert Laffay with the apparatus theory by Jean-Louis Baudry, this paper investigates the primitive filmic narrator and compares it to the narrator in literature. Significantly, Kubrick juxtaposed not only classic music with popular one, but also vocal music with instrumental one in Eyes Wide Shut. In addition, he applied both original and preexisting music to the film. By doing this, he created a cinema which blurs the boundary between the diegetic and the non-diegetic and provides the audience with a daydreaming experience. If Kubrick innovated cinema experience with 2001: A Space Odyssey (1968) by applying classic music to his visual, in Eyes Wide Shut, he developed a cinematic narrative form further from the tradition of literature and early cinema, for which music plays an active as well as significant role.
참고문헌 (36)
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