Repetition, Adorno and 71 Fragments Of A Chronology Of Chance (Haneke).

Much has been written about the stark comparisons between the cinema of Michael Haneke and the culture theories of the Frankfurt School of philosophy.  In the 2010 book, A Companion To Michael Haneke, Roy Grundmann devotes a whole essay in the volume to Theodor Adorno and the “aesthetic fragmentation” of several of Haneke’s films whilst various articles and essays spend time drawing comparisons to Haneke’s … Continue reading Repetition, Adorno and 71 Fragments Of A Chronology Of Chance (Haneke).

Eroticism in the Music of Béla Bartók – Part 6 (Kubrick and Conclusions).

Part 1. Part 2. Part 3. Part 4. Part 5. Music for Strings, Percussion and Celesta in Stanley Kubrick’s The Shining (1980). Though not as fuelled by repression and eroticism as The Miraculous Mandarin, Music for Strings, Percussion and Celesta also made the slight transition from eroticism to horror.  With its use on Doctor Who, the very basic groundwork for the piece was laid for … Continue reading Eroticism in the Music of Béla Bartók – Part 6 (Kubrick and Conclusions).

Eroticism in the Music of Béla Bartók – Part 2 (Post-Wagnerian).

Part 1. Bartók as a Post-Wagnerian Composer and The Confronting of Eroticism in The Miraculous Mandarin. “Thus, at first, there came a weariness of the productions of the Romantic Period, and then, as a consequence of this weariness, a search for points of departure which represented the greatest possible contrast to those of the Romantic mode of expression.” – Bartók (1976, p.331) In the context … Continue reading Eroticism in the Music of Béla Bartók – Part 2 (Post-Wagnerian).