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ENNIO MORRICONE, ITALSKÝ WESTERN A POPULÁRNÍ ŽÁNRY. SKLADATEL V SOCIOKULTURNÍM A PRŮMYSLOVÉM KONTEXTU ITALSKÉ KINEMATOGRAFIE 60. – 70. LET

100%

Švabenický J.

Slovenské divadlo (Slovak Theatre)

2015

vol. 63

issue 2

140 - 153

This study examines the creative position and role of the music composer and conductor Ennio Morricone in the socio-cultural and industrial context of Italian film industry in the period of the 1960s and 1970s. Using an interdisciplinary approach to this theme, the text in particular explores the link between popular genres of Italian cinema in this historical period and Morricone’s film music and soundtracks. This study analyses music styles, genres and levels that the composer used in his compositions for popular genres such as western all'italiana (western in the Italian style), spionaggio all'italiana (spy film in the Italian style), guerra all'italiana (war film in the Italian style), giallo all'italiana (detective film in the Italian style) or poliziesco all'italiana (police film in the Italian style). These and also other genre categories of Italian cinema represented new models and variations of popular spectacle that were meant for international distribution. This industrial factor was one of the reasons for the growing global popularity of Morricone’s soundtracks because most Italian popular films produced in this period had a great success with the audience.

ITALSKÝ WESTERN JAKO ZDROJ IKONOGRAFICKÉ, SPEKTAKULÁRNÍ A ŽÁNROVÉ REVITALIZACE. INTERTEXTOVÉ ODKAZY, CITACE A PARAFRÁZE VE WESTERNECH QUENTINA TARANTINA

84%

Švábenický J.

Slovenské divadlo (Slovak Theatre)

2016

vol. 64

issue 1

51 – 66

This study deals with the intertextual references, citations and paraphrases of Italian popular genre western all'italiana (western in the Italian style) in American westerns by Quentin Tarantino. Main emphasis is placed on thematic, narrative, stylistic and mainly on iconographic, socio-cultural and musical contexts between two Tarantino's movies Django Unchained (2012) and The Hateful Eight (2015) and westerns of some Italian directors that filmmaker reflects in his no-western movies yet. Citation level is analysed on example of general characteristics of Italian western and on example of work by some directors (for example Sergio Corbucci, Sergio Sollima, Giulio Petroni, Tonino Valerii, Duccio Tessari and others), from whose movies Tarantino takes and modifies selected scenes, shots, situations and replicas of characters. The study follows the process of revitalization of genre, iconographic, socio-cultural, spectacular and musical elements in Tarantino's westerns that represent a cinematic tribute to Italian westerns and their directors. The text examines also international phenomenon and cult status of character Django in the context of Corbucci's original movie and movies of other filmmakers. This study explores also archival songs and music themes from Italian westerns used by Tarantino in his movies and his first collaboration with composer Ennio Morricone on original music for his last western. On the basis of this collaboration Tarantino changed stylistic level of using styles, genres and trends of archive music of 60's and 70's. Similarly also Morricone composed for western new and atypical score that is very different from his music for Italian westerns in period of 60's and 70's.

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2 Slovenské divadlo (Slovak Theatre)

1 2016

1 2015

1 Švabenický J.

1 Švábenický J.

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ENNIO MORRICONE, ITALSKÝ WESTERN A POPULÁRNÍ ŽÁNRY. SKLADATEL V SOCIOKULTURNÍM A PRŮMYSLOVÉM KONTEXTU ITALSKÉ KINEMATOGRAFIE 60. – 70. LET

ITALSKÝ WESTERN JAKO ZDROJ IKONOGRAFICKÉ, SPEKTAKULÁRNÍ A ŽÁNROVÉ REVITALIZACE. INTERTEXTOVÉ ODKAZY, CITACE A PARAFRÁZE VE WESTERNECH QUENTINA TARANTINA