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).
Part 1. Part 2. Part 3. Kierkegaard’s Erotic Immediacy and the Atonal Manifestation of Complex Erotic Identity in Music for Strings, Percussion and Celesta. “Sensuous immediacy has its absolute medium in music, and this also explains why music in the ancient world did not become properly developed but is linked to the Christian world.” – Kierkegaard (1843, p.71). Unlike the other pieces of music by … Continue reading Eroticism in the Music of Béla Bartók – Part 4 (Kierkegaard’s Immediacy)
The Insertion and Removal Through Post-Wagnerian Ideals and New Media of Eroticism in the Music of Béla Bartók. Introduction. The music of Béla Bartók sits with some uncertainty between the last dying cries of Romanticism and the encroaching presence of Modernism. With this clash of ideals producing the composer’s early work, Bartók’s music appears to have no choice but to address another line of interest … Continue reading Eroticism In The Music Of Béla Bartók – Part 1 (Introduction).
One of Friedrich Nietzsche’s more famous and strangely popular idioms is his “Death of God” theory presented through the madman in his 1883 work The Gay Science. Though it has been used for all sorts of philosophical and theological purpose, often twisting it to fit whatever schematics the debater wants to shape it into, the idea itself can apply to several pieces of cinema, all … Continue reading Collapsing Belief Systems and The Nietzschean Death – (Winter Light, The White Ribbon, The Turin Horse).