Arzu ve Karanlığın Melodileri: Morte a Venezia ve La Pianiste Filmlerinde Film Müziği Yoluyla Eros ve Thanatos'un Kişileştirilmesi

Abstract

Sound and music, a significant issue in film studies, and associated phenomena, such as leitmotiv and diegetic/ non-diegetic music are essential notions as they serve many functions in the film experience of the audience. Sound and music, in general, have emerged as supportive elements for image and narrative in the art of cinema. Music is used in films to form a completeness with the images. In addition to these functions, film music has a significant place in terms of underlining the frames of mind of characters and expressing the emotions that are not spoken and not shown on the screen. Luchino Visconti used movements from Gustav Mahler’s third and fifth symphonies in Morte a Venezia (1971). The meanings brought by Mahler’s music almost move with the mood of Aschenbach, the main character of the film. Similarly, Michael Haneke used Schubert’s compositions in his film La Pianiste (2001). The troubles, emotional fluctuations, and oppositions experienced by Erika, who is the protagonist of the film, are also embodied in Schubert’s music, and thus the layers of meaning in both films increase with the music. In this article, the use of music in these two films is examined in terms of having similar functions. In addition, by referring to psychoanalytic theory, the reflection of the two most basic human instincts, life and death instincts, on music and characters was also examined and it was aimed to create an authentic perspective on film music.