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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
Piotr Pomostowski Piotr Pomostowski,, Wydział Filologii Polskiej i Klasycznej [nowa struktura organizacyjna] (SNoJiL/WFPiK)School of Languages and Literatures (SNoJiL)
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)
1.5 literary studies
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

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