Abstract
The study is devoted to the functions of musical quotations in the film Vaghe stelle dellʼOrsa… (1965) by the outstanding Italian neo-realist director Luchino Visconti. For the first time in the history of Russian film music, the article analyzes in detail the audial side of this film, its interaction with the video sequence. In Russia, from Luchino Visconti’s extensive cinematic legacy, Vaghe stelle dellʼOrsa… is the least studied. According to the author, this situation has developed due to neutral and negative assessments of the movie by cinema critics inthe Soviet Union and other countries. Years later, these trends have not been overcome by Russian researchers. The main problem of such inattention is seen in the difficulty of analyzing the material of the film. Throughout the running time, twenty musical quotations from Prelude, Chorale and Fugue by Cesar Franck and specimens of popular music, for example, E se domani by Carlo Alberto Rossi and Giorgio Calabrese, Strip Cinema by Paolo Calvi, Io che non vivo by Pino Donaggio and Vito Pallavicini, etc. The producer works with quotation material, creating sound-visual counterpoint. He “collides” the video sequence and musical quoted not only vertically, but also juxtaposes the musical layers horizontally to each other. As a result of the interaction in the film, the musical quotations carry out a number of compositional, dramatic and semantic functions.
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