Цитирование фортепианной музыки И. Брамса в контексте метамодернистских тенденций кинематографа XXI века

Abstract

This article is devoted to quotations from the piano music of German Romantic composer Johannes Brahms as implemented in three films: “The Phantom Thread” (2017), “We have Always Lived in the Castle” (2018) and “Little Women” (2019). These films were shot by American directors Paul Thomas Anderson, Stacie Passon and Greta Gerwig following the genre of drama movies. The article aims to disclose how the quotations of Brahms' piano music (Waltz in B minor opus 39 No. 11, Rhapsody in G minor opus 79 No. 2 and Waltz in A flat major opus 39 No. 15) implements some the features of metamodernism in these films. Based on the works of famous theorists in its approach, the article focuses on the phenomenon and problems of metamodernism. The original use of musical quotes from the Brahms’ piano music in the metamodern cinema is expressed in the filmmakers' interest in the aesthetics of the past, especially Romanticism. The principles of working with musical quotes in these films consist in neutralizing the composer’s authorship, deformation of the musical text, manifold repetition of the music, and the dynamics of the sound of the quoted music. In films, by quoting the Rhapsody in G minor opus 79 No. 2 and Waltzes opus 39 No. 11 and No. 15 represent the metamodern “structure of feeling” in different ways. It is expressed in the following factors: a childlike style, emotionality, sincerity, and female perception. In these three films, by quoting Brahms's music, the film producers experiment with time, its looping, stopping and expansion. Keywords: Johannes Brahms, metamodernism, musical quotation, meaning, cinema, structure of feeling, film music, Paul Thomas Anderson, Stacie Passon, Greta Gerwig.