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Music in films of Roman Polanski
Piotr Pomostowski
Abstract
The aim of the study is a comprehensive overview of a function and meaning of music used in Roman Polanski's movies – the changeability of the music in a relationship with the poetics of specific genres. The turning point in the work of Roman Polanski in relation to film music was the premature death of Krzysztof Komeda. Komeda was the first Polanski’s composer and had a great impact on the entire early works by this director in general. In addition, the composer from Poznań wrote music for up to ten Polanski’s movies. After Komeda’s death, Roman Polanski completed nine movies with three composers, three with each one of them: Philippe Sarde, Wojciech Kilar and Alexandre Desplat. There are also composers who collaborated with Polanski on only one project, for example Ennio Morricone. Polanski often refers to the tradition of genre cinema, but he does it very unusually. He also uses the music in unusual way. This is particularly true “transition” between the first “conventional” part of the movie, and the second part, where conventions are being changed. Polanski (which stands him out against the work of other directors) synthesizes music in films in relation to its dramatic function. One theme, introduced in the film in the appropriate scene, lower tension caused by threats, while building a different kind of tension – erotic tension.- Record ID
- UAMec7e1dc1bc414dae9a782274b68cbb5c
- Diploma type
- Doctor of Philosophy
- Author
- Title in Polish
- Muzyka w filmach Romana Polańskiego
- Title in English
- Music in films of Roman Polanski
- Language
- pol (pl) Polish
- Certifying Unit
- Faculty of Polish and Classical Philology (SNoJiL/WFPiK/FoPaCP)
- Discipline
- literary studies / (humanities) / (humanities)
- Scientific discipline (2.0)
- Status
- Finished
- Defense Date
- 11-09-2015
- Title date
- 11-09-2015
- Supervisor
- URL
- http://hdl.handle.net/10593/13859 Opening in a new tab
- Keywords in English
- film music,i Roman Polanski, composer, director
- Abstract in English
- The aim of the study is a comprehensive overview of a function and meaning of music used in Roman Polanski's movies – the changeability of the music in a relationship with the poetics of specific genres. The turning point in the work of Roman Polanski in relation to film music was the premature death of Krzysztof Komeda. Komeda was the first Polanski’s composer and had a great impact on the entire early works by this director in general. In addition, the composer from Poznań wrote music for up to ten Polanski’s movies. After Komeda’s death, Roman Polanski completed nine movies with three composers, three with each one of them: Philippe Sarde, Wojciech Kilar and Alexandre Desplat. There are also composers who collaborated with Polanski on only one project, for example Ennio Morricone. Polanski often refers to the tradition of genre cinema, but he does it very unusually. He also uses the music in unusual way. This is particularly true “transition” between the first “conventional” part of the movie, and the second part, where conventions are being changed. Polanski (which stands him out against the work of other directors) synthesizes music in films in relation to its dramatic function. One theme, introduced in the film in the appropriate scene, lower tension caused by threats, while building a different kind of tension – erotic tension.
- Uniform Resource Identifier
- https://researchportal.amu.edu.pl/info/phd/UAMec7e1dc1bc414dae9a782274b68cbb5c/
- URN
urn:amu-prod:UAMec7e1dc1bc414dae9a782274b68cbb5c