영화 <멜랑콜리아>(2011)가 표현하는 자기소멸의 미학: 바그너의 연관성과 확장성을 통해
The Aesthetics of 'self-destruction' expressed by the film <Melancholia>: Through Correlation and its Expansion with Wagner
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The film <Melancholia(2011)> depicts a human being confronted with an inevitable end due to the collision of a planet and the earth. The prologue consists of 17 images linked at a very slow speed, and Part 1 & 2 are about two sisters, Justin and Claire, who deal so differently about the destiny. The film <Melancholia> provides a very rare example of a movie, which follows the structure and development of music from the historical perspective. Similar to the music drama, <Tristan und Isolde> composed by Richard Wagner (1813-1883), the prologue and two-part structure of <Melancholia> not only recreates the overall structural similarity but also the 'leitmotive method' of <Tristan und Isolde> in the prologue of the movie. In other words, the film uses a very musical technique called 'leitmotive' and connects the shots and images from the subsequent scenes to 'visual leitmotive' in the prologue. The connection between the film <Melancholia> and Wagner's <Tristan und Isolde> is not only based on the level of musical technique and form through 'leitmotive' but also reinforced by the aesthetics of 'apocalypse' and 'self-destruction' from the philosophical stand. In conclusion, this paper examines how the director, Lars von Trier, depicts human reaction to the 'apocalypse,' in comparison to the 'End' represented by Wagner in his music.
Abstract
The film <Melancholia(2011)> depicts a human being confronted with an inevitable end due to the collision of a planet and the earth. The prologue consists of 17 images linked at a very slow speed, and Part 1 & 2 are about two sisters, Justin and Claire, who deal so differently about the destiny. The film <Melancholia> provides a very rare example of a movie, which follows the structure and development of music from the historical perspective. Similar to the music drama, <Tristan und Isolde> composed by Richard Wagner (1813-1883), the prologue and two-part structure of <Melancholia> not only recreates the overall structural similarity but also the 'leitmotive method' of <Tristan und Isolde> in the prologue of the movie. In other words, the film uses a very musical technique called 'leitmotive' and connects the shots and images from the subsequent scenes to 'visual leitmotive' in the prologue. The connection between the film <Melancholia> and Wagner's <Tristan und Isolde> is not only based on the level of musical technique and form through 'leitmotive' but also reinforced by the aesthetics of 'apocalypse' and 'self-destruction' from the philosophical stand. In conclusion, this paper examines how the director, Lars von Trier, depicts human reaction to the 'apocalypse,' in comparison to the 'End' represented by Wagner in his music.
참고문헌 (15)
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