영화 ≪킹스 스피치≫에 나타나는 베토벤 『7번 교향곡』 제2악장의 유기적ㆍ암시적 기능
Organic and Allusive Function of the Second Movement of Beethoven’s Seventh Symphony in The King’s Speech
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본 논문은 데이비드 자이들러(David Seidler) 대본, 톰 후퍼(Tom Hooper) 감독, 알렉산더 데스플라(Alexandre Desplat)가 음악을 맡은 영화 『킹스 스피치』(The King’s Speech, 2010)에 나타나는 음악과 영화 사이의 ‘사상’(寫像, cross-domain mapping)과 음악들 간의유기적 관계에서 나타나는 의미를 살펴보는 데에 그 목적이 있다. 필자는 음악이 타(他) 매체에 대해 본질적으로 자율적일 수 없으며 따라서, 음악에 내재한 많은 잠재적 의미들이 동반된 다른 매체를 통해 구체화 될 수 있다는 쿡(Nicholas Cook)의 주장에 기대어 음악과 영화가 조응하여 명시하는 잠재적 의미들을 밝히고자 하였다. 베토벤의 ≪7번 교향곡≫ 제2악장은 말더듬을 극복하는 주인공 조지6세의 전시(戰時) 연설을 반주하는 음악으로 사용되었는데, 여기서 베토벤의 음악은 10여 개의 사운드트랙들과긴밀한 유기적 관계를 형성하면서 음악과 내러티브 사이의 긴밀한 사상을 통해 극적인 이야기 전개를 강화할 뿐 아니라, 영화의 결말에 대한 암시적 역할을 수행함으로써 매체들 간의창발적 의미 생성을 이루어내고 있다. 베토벤에 내재된 모티브로서의 화음, 의 오스티나토, 보조음과 상행3도선은 데스플라의 음악에 영감을 주었는데, 이들은 절망과 희망으로 구분되는 내러티브의 두 축 속에서 절망의 침잠함을 강화하고 때로는 희망을 고대하면서 영화의 결말인 말더듬의 극복을 암시한다.
Abstract
The goal of this paper is to explore the cross-domain mapping between music and film and meanings arising from tightly-knight relations among the musics of the film in The King’s Speech (2010), written by David Seidler, directed by Tom Hooper, and composed by Alexandre Desplat. We accepted Nicholas Cook’s idea that much meanings latent in music can be pulled out and clarified by means of the other media because “music never is alone,” illuminating such hidden meanings that a successful mapping between music and film generates. The second movement of Beethoven’s Seventh Symphony, which has been adopted for the last public speech scene, forms a close organic relationship to the other soundtracks produced by Desplat. Beethoven’s Seventh in addition reinforces the dramatic narrative deployment and generates emergent meanings by carrying an allusive function of foreshadowing the film’s conclusion. The chord, ostinato of the , neighboring motion, and rising third line, all of which arise from Beethoven’s Seventh, have inspired Desplat in terms of a motive in multiple levels. These motives form two opposite axises of the narrative, despair versus hope, and suggest the final overcome of the stammer either by intensifying desperate moods or by expecting hope.
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