쇼스타코비치의 영화 음악: 음악적 서명(署名)의 기호학

Abstract

This study examines Dmitri Shostakovich(1906-1975)’s film music from a semiotic perspective, exploring how his musical signature (the DSCH motif) generates and transmits meaning within his works. The research traces the evolution of film music over four decades through three key collaborations with Grigori Kozintsev: New Babylon(1929), Hamlet(1964), and King Lear (1971). Challenging the dominant Western interpretation of Shostakovich as a "hidden dissident," the study draws on Slavoj Žižek's analysis to reinterpret the ambivalence in Shostakovich's music as the "double discourse of Stalinist superego." This approach moves beyond the simple dichotomy of resistance versus compliance, proposing instead an understanding of the artist's split identity that reflects the complex dynamics within the Soviet system. In the silent film New Babylon, Shostakovich applied Eisenstein's vertical montage theory to music, creating innovative aural montage techniques. His music evolved from external commentary to integral cinematic component, experimenting with the boundaries between diegetic and non-diegetic sound to establish new grammatical principles for film music. The 1960s Thaw-period production Hamlet showcases the sophisticated use of leitmotif techniques and musical signatures. The DSCH motif functions beyond mere compositional signature as a tool for musical identity and self-reflection, creating multilayered meanings through intertextual quotation and transformation. The play-within-play sequence demonstrates a three-tiered musical structure that provides meta-reflection on the relationships between art and reality, mask and truth. The final work King Lear represents the culmination of Shostakovich's film music journey, containing the artist's ultimate testimony symbolized by the Fool's pipe. The small sound that continues to resonate even in the face of death and dissolution embodies the composer's belief in art's permanence and authenticity. This research reveals that Shostakovich's film music was not merely supplementary creative work but constituted a crucial domain of his musical worldview and compositional methodology. The boundary reconstruction and semiotic interactions between sounds mastered through film music decisively influenced his later pure music compositions, functioning as a space for the artist's self-identity exploration and reflection.