Muzyczny eklektyzm w trzech etiudach Romana Polańskiego. Rozbijemy zabawę, Lampa i Gdy spadają anioły

• Authors: Piotr Pomostowski

Title variants

EN

Musical eclecticism in three etudes by Roman Polanski. Break Up the Dance, Lamp and When Angels Fall

• Languages of publication: PL

Abstracts

PL

Musical eclecticism in three etudes by Roman Polanski. Break Up the Dance, Lamp and When Angels Fall Author of the article, juxtaposing together three studies school of Roman Polanski, discusses the functions of music used in each of them. Due to the fact that the entire work the author of the Pianist’s is characterized by musical eclecticism – which is the main thesis of the article – it is proposed to look at the film music of early Polanski films, and to try to find a specific lineage of this eclecticism. Break Up the Dance, Lamp and When Angels Fall titles, which in the light filmic and musicological investigations differ from each other. Do not change the fact that each of these works “signs” that the director – the creator of not only the visual layer, but also (not forgetting the work of the composer) sound. In his early work Roman Polanski begins to create a kind of “range of methods” in relation to functions of music in the work of the film. The article is an attempt to systematize them and to find the film and the music key.

EN

Author of the article, juxtaposing together three studies school of Roman Polanski, discusses the functions of music used in each of them. Due to the fact that the entire work the author of the Pianist’s is characterized by musical eclecticism – which is the main thesis of the article – it is proposed to look at the film music of early Polanski films, and to try to find a specific lineage of this eclecticism. Break Up the Dance, Lamp and When Angels Fall titles, which in the light filmic and musicological investigations differ from each other. Do not change the fact that each of these works “signs” that the director – the creator of not only the visual layer, but also (not forgetting the work of the composer) sound. In his early work Roman Polanski begins to create a kind of “range of methods” in relation to functions of music in the work of the film. The article is an attempt to systematize them and to find the film and the music key.

Keywords

PL

Roman Polanski; study; film music; soundtrack; composer

• Publisher: Uniwersytet im. Adama Mickiewicza w Poznaniu
• Journal: Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
• Year: 2017
• Volume: 20
• Issue: 29
• Pages: 301-311

Dates

published

2017-08-17

Contributors

author

Piotr Pomostowski

• Instytut Filmu, Mediów i Sztuk Audiowizualnych Uniwersytet im. Adama Mickiewicza w Poznaniu

References

• Harnoncourt N., 1995, Muzyka mową dźwięków, przeł. M. Czajka, Warszawa
• Harnoncourt N., 1999, Dialog muzyczny, przeł. M. Czajka, Warszawa
• Helman A., 1964, Rola muzyki w filmie, Kraków
• Hendrykowski M., 2011, Etiudy Romana Polańskiego, „Images” vol. IX, nr 17–18
• Lissa Z., 1964, Estetyka muzyki filmowej, Kraków
• Polański R., 1989, Roman, przeł. K. i P. Szymanowscy, Warszawa
• Stachówna G., 2002, Polański od A do Z, Kraków

Identifiers

DOI

10.14746/i.2017.29.19.