Neo-liberal Transgressions in the Contemporary Film Industry: Classical Music and Dehumanised Musical Bodies in the Films The Perfection (2018) and Nocturne (2020)

The aim of this paper is to examine what I call “dehumanised musical bodies” in the psychological horror films The Perfection and Nocturne. These multi-deficient neo-liberal bodies are exposed to the stereotypical, strikingly negative image of the sophisticated world of art. Particular attention is...

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Autor principal: Buljančević, Rastko
Formato: Artículo revista
Lenguaje:Inglés
Publicado: Facultad de Filosofía y Letras, Universidad de Buenos Aires 2023
Materias:
Dehumanised musical bodies
Nocturne
neo-liberalism
classical music
The Perfection
cuerpos musicales deshumanizados
neoliberalismo
música clásica
corpos musicais desumanizados
música clássica
Acceso en línea:http://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/13331
Aporte de:
El oído pensante de Universidad de Buenos Aires
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institution Universidad de Buenos Aires
institution_str I-28
repository_str R-250
container_title_str El oído pensante
language Inglés
format Artículo revista
topic Dehumanised musical bodies
Nocturne
neo-liberalism
classical music
The Perfection
cuerpos musicales deshumanizados
The Perfection
Nocturne
neoliberalismo
música clásica
corpos musicais desumanizados
The Perfection
Nocturne
neoliberalismo
música clássica
spellingShingle Dehumanised musical bodies
Nocturne
neo-liberalism
classical music
The Perfection
cuerpos musicales deshumanizados
The Perfection
Nocturne
neoliberalismo
música clásica
corpos musicais desumanizados
The Perfection
Nocturne
neoliberalismo
música clássica
Buljančević, Rastko
Neo-liberal Transgressions in the Contemporary Film Industry: Classical Music and Dehumanised Musical Bodies in the Films The Perfection (2018) and Nocturne (2020)
topic_facet Dehumanised musical bodies
Nocturne
neo-liberalism
classical music
The Perfection
cuerpos musicales deshumanizados
The Perfection
Nocturne
neoliberalismo
música clásica
corpos musicais desumanizados
The Perfection
Nocturne
neoliberalismo
música clássica
author Buljančević, Rastko
author_facet Buljančević, Rastko
author_sort Buljančević, Rastko
title Neo-liberal Transgressions in the Contemporary Film Industry: Classical Music and Dehumanised Musical Bodies in the Films The Perfection (2018) and Nocturne (2020)
title_short Neo-liberal Transgressions in the Contemporary Film Industry: Classical Music and Dehumanised Musical Bodies in the Films The Perfection (2018) and Nocturne (2020)
title_full Neo-liberal Transgressions in the Contemporary Film Industry: Classical Music and Dehumanised Musical Bodies in the Films The Perfection (2018) and Nocturne (2020)
title_fullStr Neo-liberal Transgressions in the Contemporary Film Industry: Classical Music and Dehumanised Musical Bodies in the Films The Perfection (2018) and Nocturne (2020)
title_full_unstemmed Neo-liberal Transgressions in the Contemporary Film Industry: Classical Music and Dehumanised Musical Bodies in the Films The Perfection (2018) and Nocturne (2020)
title_sort neo-liberal transgressions in the contemporary film industry: classical music and dehumanised musical bodies in the films the perfection (2018) and nocturne (2020)
description The aim of this paper is to examine what I call “dehumanised musical bodies” in the psychological horror films The Perfection and Nocturne. These multi-deficient neo-liberal bodies are exposed to the stereotypical, strikingly negative image of the sophisticated world of art. Particular attention is paid to the provocative treatment of classical music, focusing on the non-normative institutional practices and ethical reconfiguration of their representatives. A strikingly raw form of musical dehumanisation is found in the film The Perfection, whose soundtrack combines ambient sounds of terror and popular tunes with great classical works by Handel, Mozart and Casadesus. The film Nocturne, on the other hand, offers a more contemplative audio-visual aesthetic with a deceptive hierarchisation of the classical music repertoire. Mozart’s music is frivolously devalued, while Saint-Saëns’ “Piano Concerto No. 2 in G Minor” is used as a narrative device for a destructive manifestation of power that leads to an avalanche of conflict between the sisters. Such explicit play with the classical music signifiers drastically deviates from conventional musical protocols and leads to alienation and, ultimately, transgressive neo-liberal dehumanisation of contemporary musicians.
publisher Facultad de Filosofía y Letras, Universidad de Buenos Aires
publishDate 2023
url http://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/13331
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spelling I28-R250-article-133312023-10-08T19:54:10Z Neo-liberal Transgressions in the Contemporary Film Industry: Classical Music and Dehumanised Musical Bodies in the Films The Perfection (2018) and Nocturne (2020) Transgresiones neoliberales en la industria cinematográfica contemporánea: música clásica y cuerpos musicales deshumanizados en las películas The Perfection (2018) y Nocturne (2020) Transgressões neoliberais na indústria cinematográfica contemporânea: música clássica e corpos musicais desumanizados nos filmes The Perfection (2018) e Nocturne (2020) Buljančević, Rastko Dehumanised musical bodies Nocturne neo-liberalism classical music The Perfection cuerpos musicales deshumanizados The Perfection Nocturne neoliberalismo música clásica corpos musicais desumanizados The Perfection Nocturne neoliberalismo música clássica The aim of this paper is to examine what I call “dehumanised musical bodies” in the psychological horror films The Perfection and Nocturne. These multi-deficient neo-liberal bodies are exposed to the stereotypical, strikingly negative image of the sophisticated world of art. Particular attention is paid to the provocative treatment of classical music, focusing on the non-normative institutional practices and ethical reconfiguration of their representatives. A strikingly raw form of musical dehumanisation is found in the film The Perfection, whose soundtrack combines ambient sounds of terror and popular tunes with great classical works by Handel, Mozart and Casadesus. The film Nocturne, on the other hand, offers a more contemplative audio-visual aesthetic with a deceptive hierarchisation of the classical music repertoire. Mozart’s music is frivolously devalued, while Saint-Saëns’ “Piano Concerto No. 2 in G Minor” is used as a narrative device for a destructive manifestation of power that leads to an avalanche of conflict between the sisters. Such explicit play with the classical music signifiers drastically deviates from conventional musical protocols and leads to alienation and, ultimately, transgressive neo-liberal dehumanisation of contemporary musicians. El objetivo de este artículo es examinar lo que llamo “cuerpos musicales deshumanizados” en las películas de terror psicológico The Perfection y Nocturne. Estos cuerpos neoliberales multideficientes están expuestos a la imagen estereotipada y sorprendentemente negativa del sofisticado mundo del arte. Se presta especial atención al tratamiento provocador de la música clásica, centrándose en las prácticas institucionales no normativas y la reconfiguración ética de sus representantes. Una forma sorprendentemente cruda de deshumanización musical se encuentra en la película The Perfection, cuya banda sonora combina sonidos ambientales de terror y melodías populares con grandes obras clásicas de Handel, Mozart y Casadesus. La película Nocturne, en cambio, ofrece una estética audiovisual más contemplativa con una jerarquización engañosa del repertorio de música clásica. La música de Mozart se devalúa caprichosamente, mientras que el “Concierto para piano No. 2 en sol menor”” de Saint-Saëns se utiliza como recurso narrativo para una manifestación destructiva de poder que conduce a una avalancha de conflictos entre las hermanas. Este juego explícito con significantes de la música clásica se desvía drásticamente de los protocolos musicales convencionales y conduce a la alienación y, en última instancia, a la deshumanización neoliberal transgresora de los músicos contemporáneos. O objetivo deste artigo é examinar o que chamo “corpos musicais deshumanizados” nos filmes de terror psicológico The Perfection e Nocturne. Esses corpos neoliberais multideficientes são expostos à imagem estereotipada e surpreendentemente negativa do mundo sofisticado da música artística. Particular atenção é dada ao tratamento provocativo da música erudita, com foco nas práticas institucionais não normativas e na reconfiguração ética dos seus representantes. Uma forma surpreendentemente crua de desumanização musical é encontrada no filme The Perfection, cuja trilha sonora combina sons ambientes de terror e músicas populares com grandes obras clássicas de Handel, Mozart e Casadesus. O filme Nocturne, por outro lado, oferece uma estética audiovisual mais contemplativa com uma hierarquização enganosa do repertório da música clássica. A música de Mozart é caprichosamente desvalorizada, enquanto o “Concerto para piano No. 2 em sol menor” de Saint-Saëns é usado como um dispositivo narrativo para uma manifestação destrutiva de poder que leva a uma avalanche de conflito entre as irmãs. Tal jogo explícito com os significantes da música clássica desvia-se drasticamente dos protocolos musicais convencionais e leva à alienação e, em última análise, à desumanização neoliberal transgressora dos músicos contemporâneos. Facultad de Filosofía y Letras, Universidad de Buenos Aires 2023-09-04 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf http://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/13331 10.34096/oidopensante.v11n2.13331 El oído pensante; Vol. 11 Núm. 2 (2023) El oído pensante; Vol 11 No 2 (2023) El oído pensante; v. 11 n. 2 (2023) 2250-7116 eng http://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/13331/11855 Derechos de autor 2023 El oído pensante

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