Part 1. Part 2. 2001: Narrative and Musical Parallels. “Ultimately, 2001 is a film that suspends that coordination of the human body, and thus human nature, in such conditions- even as it suspends our final judgments about human nature in its open-ended conclusion about our future development.” Decker – (2007, p.101). One of the biggest omens that a piece of music is given preference in … Continue reading Ligeti’s Atmosphères as a Musical Foreshadowing of Kubrick’s 2001- Part 3 (Musical Narrative)
Part 1. Musical Techniques of Atmosphères and Disassociations with the Past. “Seen from this angle, with Atmosphères I was consciously reacting against the refinement of serialism. Musical texture in Atmosphères is also refined but in quite a different dimension.” -Ligeti (1983, p.38). Before even looking in any depth at the notational content of Ligeti’s Atmosphères, it becomes clear to the reader when looking over the … Continue reading Ligeti’s Atmosphères as a Musical Foreshadowing of Kubrick’s 2001- Part 2 (The Musical Past)
Ligeti’s Atmosphères as a Musical Foreshadowing of Stanley Kubrick’s 2001: A Space Odyssey. Introduction. “First in Cologne in 1957 and later during my long stay in Vienna in the ’60s, I gradually evolved a musical style in which I abandoned structures conceived in terms of bars, melodies, lines and conventional forms. In this respect my first two orchestral works, Apparitions and Atmosphères, are the most … Continue reading Ligeti’s Atmosphères as a Musical Foreshadowing of Kubrick’s 2001- Part 1 (Introduction)
Strange undercurrents of sexuality pervade the films of Stanley Kubrick. Though not always present explicitly, a raw pipeline of dark desire and physical wanting seems to pop up at random points throughout his work. From Dr Strangelove‘s ideas of selective breeding based on the “sexual characteristics that will have to be of a highly stimulating nature” to The Shining‘s most surreal haunting of a man … Continue reading Eyes Wide Shut (1999) -Sexuality as an Occult Concept (Kubrick).