Revolutionizing Film Score: 2001: A Space Odyssey And The Day The Earth Stood Still
Revolutionizing Film Score: 2001: A Space Odyssey & The Day The Earth Stood Still
Karlina Hackett
110739430
FS254: Science Fiction Film
Dr. Stefan Sereda
Hackett 1
Revolutionizing Film Score: 2001: A Space Odyssey & The Day The Earth Stood Still Films have been designed to evoke emotion through the manipulation of both audio and visual imagery. A single scene’s emotional extent is carried through a successful analysis of these factors presented. A directors style and intended impact is developed through the interpretation of the sound and score. In most genres of film, score is relatable, common and designed to target specific feelings or moods to enhance …show more content…
the directors intent. For example, a horror film will likely utilize dark overtones to convey feelings of fear, and a western film will draw from folk and square dance music backgrounds Yet the science fiction genre differs, usually involving little or no characteristic sound. These films usually lack unique sounds and prove to be less traditional. Breaking this lack of notability is the score in two films still being studied by film scholars for their exploitation of cosmic brilliance and experimental techniques. In Stanley Kubrick’s 2001: A Space Odyssey and Robert Wise’s The Day The Earth Stood Still, both directors revolutionized the use of score in science fiction films. By transgressing the traditional music model in classical Hollywood cinema and birthing new avant-garde techniques for creating music, these films were able to use score as a new way of developing narrative structure in science fiction films. Through repetition of iconic sounds and the use of music to imitate images both visually and emotionally, Kubrick and Wise were able to formulate innovative techniques of narration and theme development. First off, it is important to discuss the conventional uses along with prevalent aural patterns in science fiction films. Nicholas Laudadio argues that “science fiction echoed both the
Hackett 2 concerns of critics fearful that new electronic forms would ‘dehumanize’ music and the optimistic rhetoric of those who dreamt of the technology’s enormous potential” (2011). He discusses and examines the use of the synthesizer as the most common instrument heard in science fiction films. He also writes, “the synth literally establishes first contact and maintains it. As the musical conversation between the humans and the aliens progresses, the synthesist loses pace with the ship and the instrument ends up playing itself, its keys being triggered unaided like some manic pianola.” (Laudadio, 2011, p. 1) Science Fiction score usually entails electronic sounds to reflect the alienation in specific scenes. Since this is a highly speculative and extrapolative genre, the music must be a reflection of this. Through the use of electronic sounds created by synthesizers and theremins, the sounds of alienation, machinery and technology is reflected perfectly. Directors use these sounds to imitate an alien language and to disorient the viewer emotionally and physically. These diegetic sounds, are usually the only means to developing dramatic moments in science fiction films, if any aural patterns prove to even be prevalent. Usually science fiction music has “no characteristic sound... and has had no such musical identity” (Sobchack, 2004, p.208). There is usually an absence of characteristic sounds in SF films. Also noted is the similarity in SF sounds from film to film. This is where Kubrick and Wise challenge and transcend this traditional invisible SF music model with their selection of sounds in their iconic pieces of art. Music plays an especially crucial role in the narrative, emotional and intellectual content in Stanley Kubrick’s 2001: A Space Odyssey. Differing from the commonly heard science fiction sound model was Kubrick’s selection of Richard Strauss’ Also Sprach Zarathustra as its main
Hackett 3 theme. This piece required little artificial sounds and can be played by a classical concert band. This theme includes instruments from the woodwinds, brass, percussion, keyboard and string families which is evidently uncommon for science fiction films. This theme was played to add cosmic brilliance and itself is a symphonic poem. Other classical pieces in this iconic film include music by Gyorgy Liheti, Aram Khachaturyan and Johann Strauss’ The Blue Danube. In Whittington’s book titled, Sound Design & Science Fiction he notes that “the juxtaposition of classical music and the evocative images of space flight stripped away the traditional associations for both.” (2007, p. 76) Further separating this films score from the traditional sounds heard in SF films can be noted in the second half of the film. In the scene involving Frank Poole’s final conflict with Hal, the non-diegetic sounds involve the heavy breathing of the astronaut. This is crucial because it is reflecting the lack of sound in space considering no atmosphere means there is literally no medium for the transmission of sound. This is hardly seen in SF films and adds greatly to the suspense even without the use of a synthesizer. Clearly, the use of classical music and also the lack of diegetic sounds in 2001 contrast greatly from more conventional uses of sound in the Science Fiction genre. Next, it is important to discuss how the score in 2001 was able to develop the narrative structure. Most importantly noted, is the division of the film into three parts. The association of music and the monolith occurs in the dawn of man sequence, in the middle and at the end of the film, thus somewhat framing the film alike a three note musical chord. The repetition of this disturbing and famous piece is necessary to developing the narrative structure in 2001: A Space Odyssey. Each time the image of the black monolith is shown along with the specific sounds, a
Hackett 4 moment of becoming and evolving is presented.
In the dawn of man sequence, the cue represents “a moment of becoming... and represents a vehicle for change and evolution. The second instance of the cue represents a moment of change and evolution. The apes have learned to kill, they have learned to use tools, and they have begun an evolution towards thinking and rationality.” (Bartkowiak, 2010, p.186) Next, the third cue takes place after the star-gate scene which is another moment of becoming. Bartkowiak further states, “Here the implication is that man has progressed beyond the need for a physical becoming, whether becoming-animal, becoming-woman or becoming-human. Instead, corporeal body has been transcended and Bowman no longer has any use for is. He has become pure consciousness.” (p.186) Therefore, each reoccurrence marks an instance of becoming animal, man and becoming new with the film. Clearly, Kubrick utilized the score as a creative vehicle to develop both narrative structure and prevalent themes in his fascinating science fiction …show more content…
film. The next film that this essay is concerned with is Robert Wise’s The Day The Earth Stood Still. It is vital to compare how this film differs from the traditional SF music model. Bernard Herrmann, the composer for this experimental film, used avant-garde techniques and created a score that would change the SF genre for the better. Sobchack includes writing from Herrmann where he states, “At that time, we had no electronic sound, but the score had many electronic features which haven’t become antiquated at all: electric violin, electric bass, two high and low electric theremins, four pianos, four harps and a very strange section of about 30-odd brass.” (p. 211) This film is a clear example of musical experimentation and its score was definitely ahead of its time. This was the film that gave us the phrase “Klaatu! Barada! Nikto!” which echoed
Hackett 5 feelings that “there are no certainties, only ambiguities” (Bushard, 2009, p. 314) These three words have been studied and attempted to be deciphered by many. This is also somewhat part of the score and implies mystery and alienation. This film also differs from the traditional SF film score by drawing on “unusual orchestrations and the theremin to create tension and menace...Bernard Herrmann’s trademark ‘edgy’ compositions and arrangements used the theremin in combination with other unusual electrified instruments and percussion sounds to evoke alienness.” (Hayward, 2004, p.10) Overall, the obvious unnatural sounds and innovative instruments used in this film separated it from the usual model of score in SF films. It is clear that these sound technologies were unheard of before this 1950’s film and highly impacted the sound of score in science fiction. Alike 2001, the score in The Day The Earth Stood Still provides narrative structure and also helps to develop the films’ main themes. As reiterated by Paul Heyer in his guest lecture, the 1950’s were the most prolific decade ever in the science fiction genre, due to overwhelming fear of the bomb, communism, nuclear testing, alien invasion and also the fact that the promise of space was prevalent at this time. Clearly, the 50’s were dominated by fear, paranoia and alienation. This is overall reflected in Wise’s film “through its theme of a representative of an alien superpower visiting Earth in an attempt to impose peace upon the planet.” (Hayward, 2004, p.10) The score clearly expresses these thematic aspects through its use of harmonic stasis. Anthony Bushard goes onto evaluate Herrmann’s sheet music and concludes that, “through the use of chromaticism, Hermmann disrupts any sense of a home key. The vibraphones begin and end on an F-sharp major chord, but there is no movement away from nor strong pull towards that
Hackett 6 chord... Not only is the chromaticism effective, but the way Herrmann caries the same material in each measure underlines the sense of unpredictability in the face of this ‘invader.’” (2009, p.315-316) Clearly, he utilizes the instruments and the chromatic movement in the bass instruments to enhance fear in the viewer which is also reflective of what is happening on screen. The highlighted dissonance allows the audience to experience more feelings of fear, alienation, and paranoia which is presented in the films themes itself. Therefore, Herrmann’s new techniques and new instrument experimentation revolutionized the use of score in science fiction films. Overall, Robert Wise’s The Day The Earth Stood Still also provides a unique score, which differs from conventional aural patterns in SF films and also helps to develop main themes in the film. After thoroughly examining the sound in Stanley Kubrick’s highly acclaimed 2001: A Space Odyssey and Robert Wise’s out of the ordinary film, The Day The Earth Stood Still, it is evident that both films strayed from science fiction’s traditional invisible music model and also used score as a way to develop its themes and narrative structure.
In 2001, the score was used to separate the film into three main parts which showed a transition of first, becoming animal, then becoming man, and becoming new. The score helped to show cosmic brilliance and developed birthing techniques, coming full circle, ending with the intriguing Starchild. Looking at Robert Wise’s film and Bernard Herrmann’s use of new instruments with unique sounds, he helped to further develop themes as well. The score contributed to the overall feelings of fear, paranoia and alienation reflected on screen and off screen. These two films changed the sound in the science fiction genre due to the sheer innovation and creativity. Music in film proves to be necessary
and
Hackett 7 incredibly characteristic as shown in this current essay. A film’s main purpose is to evoke emotion and specifically in the SF film genre these emotions tend to be of fear and utter confusion. The director’s job is to create these feelings in the viewer and these films discussed above have done a great job of doing so. In the future, it can be predicted that more films will be produced that transcend this SF model, yet these films are so iconic, it is difficult to imagine films that embody what these films do plus some.
Bibliography
Bartkowiak, Matthew J. Sounds of The Future: Essays on Music and Science Fiction Films. Excerpt from online book found on Google Scholar. McFarland. 2010.
Bushard, Anthony. Waging the Peace: Bernard Herrmann and “The Day the Earth Stood Still” ProQuest Online. College Music Society, 2009.
Hayward, Philip. Off The Planet: Music, Sound and Science Fiction Cinema. Indiana University Excerpt from online book found on Google Scholar. 2004.
Laudadio, Nicholas C. "Sounds like a Human Performance": The Electronic Music Synthesizer in Mid-Twentieth-Century Science Fiction. ProQuest Online. SF-TH Inc. 2011.
Sobchack, Vivian. Screening Space: The American Science Fiction Film. Fifth ed. New Brunswick, NJ: Rutgers University Press, 2005.
Whittington, William Brian. Sound Design & Science Fiction. University of Texas Press, 2007. Excerpt from online book found on Google Scholar p. 39-45.
Karlina Hackett
110739430
FS254: Science Fiction Film
Dr. Stefan Sereda
Hackett 1
Revolutionizing Film Score: 2001: A Space Odyssey & The Day The Earth Stood Still Films have been designed to evoke emotion through the manipulation of both audio and visual imagery. A single scene’s emotional extent is carried through a successful analysis of these factors presented. A directors style and intended impact is developed through the interpretation of the sound and score. In most genres of film, score is relatable, common and designed to target specific feelings or moods to enhance …show more content…
the directors intent. For example, a horror film will likely utilize dark overtones to convey feelings of fear, and a western film will draw from folk and square dance music backgrounds Yet the science fiction genre differs, usually involving little or no characteristic sound. These films usually lack unique sounds and prove to be less traditional. Breaking this lack of notability is the score in two films still being studied by film scholars for their exploitation of cosmic brilliance and experimental techniques. In Stanley Kubrick’s 2001: A Space Odyssey and Robert Wise’s The Day The Earth Stood Still, both directors revolutionized the use of score in science fiction films. By transgressing the traditional music model in classical Hollywood cinema and birthing new avant-garde techniques for creating music, these films were able to use score as a new way of developing narrative structure in science fiction films. Through repetition of iconic sounds and the use of music to imitate images both visually and emotionally, Kubrick and Wise were able to formulate innovative techniques of narration and theme development. First off, it is important to discuss the conventional uses along with prevalent aural patterns in science fiction films. Nicholas Laudadio argues that “science fiction echoed both the
Hackett 2 concerns of critics fearful that new electronic forms would ‘dehumanize’ music and the optimistic rhetoric of those who dreamt of the technology’s enormous potential” (2011). He discusses and examines the use of the synthesizer as the most common instrument heard in science fiction films. He also writes, “the synth literally establishes first contact and maintains it. As the musical conversation between the humans and the aliens progresses, the synthesist loses pace with the ship and the instrument ends up playing itself, its keys being triggered unaided like some manic pianola.” (Laudadio, 2011, p. 1) Science Fiction score usually entails electronic sounds to reflect the alienation in specific scenes. Since this is a highly speculative and extrapolative genre, the music must be a reflection of this. Through the use of electronic sounds created by synthesizers and theremins, the sounds of alienation, machinery and technology is reflected perfectly. Directors use these sounds to imitate an alien language and to disorient the viewer emotionally and physically. These diegetic sounds, are usually the only means to developing dramatic moments in science fiction films, if any aural patterns prove to even be prevalent. Usually science fiction music has “no characteristic sound... and has had no such musical identity” (Sobchack, 2004, p.208). There is usually an absence of characteristic sounds in SF films. Also noted is the similarity in SF sounds from film to film. This is where Kubrick and Wise challenge and transcend this traditional invisible SF music model with their selection of sounds in their iconic pieces of art. Music plays an especially crucial role in the narrative, emotional and intellectual content in Stanley Kubrick’s 2001: A Space Odyssey. Differing from the commonly heard science fiction sound model was Kubrick’s selection of Richard Strauss’ Also Sprach Zarathustra as its main
Hackett 3 theme. This piece required little artificial sounds and can be played by a classical concert band. This theme includes instruments from the woodwinds, brass, percussion, keyboard and string families which is evidently uncommon for science fiction films. This theme was played to add cosmic brilliance and itself is a symphonic poem. Other classical pieces in this iconic film include music by Gyorgy Liheti, Aram Khachaturyan and Johann Strauss’ The Blue Danube. In Whittington’s book titled, Sound Design & Science Fiction he notes that “the juxtaposition of classical music and the evocative images of space flight stripped away the traditional associations for both.” (2007, p. 76) Further separating this films score from the traditional sounds heard in SF films can be noted in the second half of the film. In the scene involving Frank Poole’s final conflict with Hal, the non-diegetic sounds involve the heavy breathing of the astronaut. This is crucial because it is reflecting the lack of sound in space considering no atmosphere means there is literally no medium for the transmission of sound. This is hardly seen in SF films and adds greatly to the suspense even without the use of a synthesizer. Clearly, the use of classical music and also the lack of diegetic sounds in 2001 contrast greatly from more conventional uses of sound in the Science Fiction genre. Next, it is important to discuss how the score in 2001 was able to develop the narrative structure. Most importantly noted, is the division of the film into three parts. The association of music and the monolith occurs in the dawn of man sequence, in the middle and at the end of the film, thus somewhat framing the film alike a three note musical chord. The repetition of this disturbing and famous piece is necessary to developing the narrative structure in 2001: A Space Odyssey. Each time the image of the black monolith is shown along with the specific sounds, a
Hackett 4 moment of becoming and evolving is presented.
In the dawn of man sequence, the cue represents “a moment of becoming... and represents a vehicle for change and evolution. The second instance of the cue represents a moment of change and evolution. The apes have learned to kill, they have learned to use tools, and they have begun an evolution towards thinking and rationality.” (Bartkowiak, 2010, p.186) Next, the third cue takes place after the star-gate scene which is another moment of becoming. Bartkowiak further states, “Here the implication is that man has progressed beyond the need for a physical becoming, whether becoming-animal, becoming-woman or becoming-human. Instead, corporeal body has been transcended and Bowman no longer has any use for is. He has become pure consciousness.” (p.186) Therefore, each reoccurrence marks an instance of becoming animal, man and becoming new with the film. Clearly, Kubrick utilized the score as a creative vehicle to develop both narrative structure and prevalent themes in his fascinating science fiction …show more content…
film. The next film that this essay is concerned with is Robert Wise’s The Day The Earth Stood Still. It is vital to compare how this film differs from the traditional SF music model. Bernard Herrmann, the composer for this experimental film, used avant-garde techniques and created a score that would change the SF genre for the better. Sobchack includes writing from Herrmann where he states, “At that time, we had no electronic sound, but the score had many electronic features which haven’t become antiquated at all: electric violin, electric bass, two high and low electric theremins, four pianos, four harps and a very strange section of about 30-odd brass.” (p. 211) This film is a clear example of musical experimentation and its score was definitely ahead of its time. This was the film that gave us the phrase “Klaatu! Barada! Nikto!” which echoed
Hackett 5 feelings that “there are no certainties, only ambiguities” (Bushard, 2009, p. 314) These three words have been studied and attempted to be deciphered by many. This is also somewhat part of the score and implies mystery and alienation. This film also differs from the traditional SF film score by drawing on “unusual orchestrations and the theremin to create tension and menace...Bernard Herrmann’s trademark ‘edgy’ compositions and arrangements used the theremin in combination with other unusual electrified instruments and percussion sounds to evoke alienness.” (Hayward, 2004, p.10) Overall, the obvious unnatural sounds and innovative instruments used in this film separated it from the usual model of score in SF films. It is clear that these sound technologies were unheard of before this 1950’s film and highly impacted the sound of score in science fiction. Alike 2001, the score in The Day The Earth Stood Still provides narrative structure and also helps to develop the films’ main themes. As reiterated by Paul Heyer in his guest lecture, the 1950’s were the most prolific decade ever in the science fiction genre, due to overwhelming fear of the bomb, communism, nuclear testing, alien invasion and also the fact that the promise of space was prevalent at this time. Clearly, the 50’s were dominated by fear, paranoia and alienation. This is overall reflected in Wise’s film “through its theme of a representative of an alien superpower visiting Earth in an attempt to impose peace upon the planet.” (Hayward, 2004, p.10) The score clearly expresses these thematic aspects through its use of harmonic stasis. Anthony Bushard goes onto evaluate Herrmann’s sheet music and concludes that, “through the use of chromaticism, Hermmann disrupts any sense of a home key. The vibraphones begin and end on an F-sharp major chord, but there is no movement away from nor strong pull towards that
Hackett 6 chord... Not only is the chromaticism effective, but the way Herrmann caries the same material in each measure underlines the sense of unpredictability in the face of this ‘invader.’” (2009, p.315-316) Clearly, he utilizes the instruments and the chromatic movement in the bass instruments to enhance fear in the viewer which is also reflective of what is happening on screen. The highlighted dissonance allows the audience to experience more feelings of fear, alienation, and paranoia which is presented in the films themes itself. Therefore, Herrmann’s new techniques and new instrument experimentation revolutionized the use of score in science fiction films. Overall, Robert Wise’s The Day The Earth Stood Still also provides a unique score, which differs from conventional aural patterns in SF films and also helps to develop main themes in the film. After thoroughly examining the sound in Stanley Kubrick’s highly acclaimed 2001: A Space Odyssey and Robert Wise’s out of the ordinary film, The Day The Earth Stood Still, it is evident that both films strayed from science fiction’s traditional invisible music model and also used score as a way to develop its themes and narrative structure.
In 2001, the score was used to separate the film into three main parts which showed a transition of first, becoming animal, then becoming man, and becoming new. The score helped to show cosmic brilliance and developed birthing techniques, coming full circle, ending with the intriguing Starchild. Looking at Robert Wise’s film and Bernard Herrmann’s use of new instruments with unique sounds, he helped to further develop themes as well. The score contributed to the overall feelings of fear, paranoia and alienation reflected on screen and off screen. These two films changed the sound in the science fiction genre due to the sheer innovation and creativity. Music in film proves to be necessary
and
Hackett 7 incredibly characteristic as shown in this current essay. A film’s main purpose is to evoke emotion and specifically in the SF film genre these emotions tend to be of fear and utter confusion. The director’s job is to create these feelings in the viewer and these films discussed above have done a great job of doing so. In the future, it can be predicted that more films will be produced that transcend this SF model, yet these films are so iconic, it is difficult to imagine films that embody what these films do plus some.
Bibliography
Bartkowiak, Matthew J. Sounds of The Future: Essays on Music and Science Fiction Films. Excerpt from online book found on Google Scholar. McFarland. 2010.
Bushard, Anthony. Waging the Peace: Bernard Herrmann and “The Day the Earth Stood Still” ProQuest Online. College Music Society, 2009.
Hayward, Philip. Off The Planet: Music, Sound and Science Fiction Cinema. Indiana University Excerpt from online book found on Google Scholar. 2004.
Laudadio, Nicholas C. "Sounds like a Human Performance": The Electronic Music Synthesizer in Mid-Twentieth-Century Science Fiction. ProQuest Online. SF-TH Inc. 2011.
Sobchack, Vivian. Screening Space: The American Science Fiction Film. Fifth ed. New Brunswick, NJ: Rutgers University Press, 2005.
Whittington, William Brian. Sound Design & Science Fiction. University of Texas Press, 2007. Excerpt from online book found on Google Scholar p. 39-45.