Self-Reflexive Suspense: The Music of Bernard Herrmann and Pino Donaggio in Brian De Palma’s Thrillers

novitàdigital Self-Reflexive Suspense: The Music of Bernard Herrmann
and Pino Donaggio in Brian De Palma’s Thrillers

Articolo

rivista	COMUNICAZIONI SOCIALI
sezione	Online First
titolo	Self-Reflexive Suspense: The Music of Bernard Herrmann and Pino Donaggio in Brian De Palma’s Thrillers
autore	Valerio Sbravatti
editore	Vita e Pensiero
formato	Articolo \| Pdf
online da	03-2021
doi	10.26350/001200_000124
issn	03928667 (stampa) \| 18277969 (digitale)
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Descrizione Commenti dei lettori
It is known that film director Brian De Palma has a recognizable style which may be called mannerist, virtuosic, and operatic, and his narrational mode is often self-reflexive. De Palma’s thrillers are rich in music, which helps connoting the sequences and making meanings. Following a neoformalist approach, this article aims at demonstrating how music contributes to De Palma’s self-reflexivity, in that it is often used intertextually: the scores by Bernard Herrmann reference his own scores for the films that inspire De Palma – i.e., those of Alfred Hitchcock – and the scores of Pino Donaggio sometimes evoke Herrmann’s style. Moreover, Donaggio’s use of similar musical materials in different films helps the audience make connections between them. Therefore, music is a crucial feature for understanding the formal project of De Palma’s thrillers, which may be really appreciated only in their transtextual connections. keywords Film music; hypertextuality; intertextuality; neoformalism; transtextuality. Biografia dell'autore Sapienza Università di Roma ‒ valerio.sbravatti@uniroma1.it. Inserisci un commento per Self-Reflexive Suspense: The Music of Bernard Herrmann and Pino Donaggio in Brian De Palma’s Thrillers

Descrizione Commenti dei lettori

It is known that film director Brian De Palma has a recognizable style which may be called mannerist, virtuosic, and operatic, and his narrational mode is often self-reflexive. De Palma’s thrillers are rich in music, which helps connoting the sequences and making meanings. Following a neoformalist approach, this article aims at demonstrating how music contributes to De Palma’s self-reflexivity, in that it is often used intertextually: the scores by Bernard Herrmann reference his own scores for the films that inspire De Palma – i.e., those of Alfred Hitchcock – and the scores of Pino Donaggio sometimes evoke Herrmann’s style. Moreover, Donaggio’s use of similar musical materials in different films helps the audience make connections between them. Therefore, music is a crucial feature for understanding the formal project of De Palma’s thrillers, which may be really appreciated only in their transtextual connections.