Art, Culture, and Intertextuality in EWS
Padraig L Henry
reasons of compactness and ... the follow-up post does precisely that
too :-) >
Da...@aiwass.freeserve.co.uk wrote:
"Nutcracker
-----------------
I don't think anyone's mentioned that young Helena is dressed as the
Sugar Plum Fairy at the beginning of the film. You can see her ballet
shoes still on. That's why she wants to stay up to watch the
"Nutcracker"."
Yes, operatic/balletic references abound in EWS. In fact, the film -
at one level - is a meditation on the relationship between art, and
art history, and society. Kubrick has included a kaleidoscope - a
rainbow - of art and cultural intertextual references in EWS, the
first time he has explicitly chosen to do this since A Clockwork
Orange, where the relationships between classical and modern art and
Alex himself are more directly drawn and portrayed.
But we need to be a little cautious here, however, in terms of
avoiding falling into the "intertextual-interpretative" trap of
attempting to explain away particular EWS scenes by reference to the
themes inherent in the art works that are cited in those scenes.
Kubrick cites four operas/ballets in EWS:
Indirectly: Shostakovitch's "Lady Macbeth" (meaning "bad lady" here -
not a reference to Shakespeare - an opera coincidentally about "moral
decay and sexual jealousy").
Verbally (Helena): Tchaikovsky's "Nutcracker".
In writing (Nick's password): Beethovan's "Fidelio".
Aurally (in-scene soundtrack at Sharkey's): Mozart's "Requiem".
We can already start to see here how Kubrick is analyzing the
different ways that a work of art >communicates< with the
listener/viewer, with society (as well as how art is appropriated by
that society).
That each of these operas/compositions deal with themes that relate,
however tangentially, with those of EWS is of course a layering device
that is commonly used in Kubrick's films. But Kubrick is primarily
citing these musical works as part of a much wider, much more
elaborate narrative agenda in EWS. The film, in fact, addresses and
cites >all< of the arts: Classical painting (the circa 18th century
portraits in Ziegler's pool room, the landscapes and
Italian-architecture paintings in Marion's apartment);
modern/contemporary painting in the classical fine-art tradition
(Christiane and Katharina's paintings in the Harford's apartment,
which are distinguished as contemporary through their use of vivid
colours that add a greater richness and dimensionality than their
classical counterparts); classical and modern sculpture (from Venetian
masks to the sculptures at the base of Ziegler's stairs and in
Marion's apartment); modernist figurative and semi-abstract painting
(throughout Bill's surgery and office, e.g. the Modigliani portrait on
the wall beside his desk; the reclining nude in Ziegler's bathroom);
classical and modern architecture and design; classical and modern
music (from soundtrack to in-scene jazz performances); poetry (Ovid);
books (Alice gift-wrapping a book on Van Gogh, "Introducing Sociology"
in Domino's bedroom); photography; TV and film (Blume in Love).
The art objects are seamlessly positioned within EWS' mise en scene,
but we can gradually begin to ascertain how they connect to the larger
concerns of the film: those of inheritance, transference,
communication, sensuality, objectification, spiritualization, and the
representation of the self and reality, as well as the inter-relations
between sexual desire and promiscuity, on the one hand, and marital
concerns and commitments, on the other.
It is important too, to notice that all of the art objects in EWS are
almost completely devoid of religious imagery or reference
(interesting, given that the whole of western art was largely founded
on - and preoccupied with - religion). Even the Christmas decorations
and designs, with the exception of the Xmas trees (though even >they<
originated with the Royal family in Victorian England, and are as much
a representation of commerce and consumerism as they are of domestic
and spiritual romantic idealism), represent at varying levels a
pre-religious, pagan sexuality - often a woman's sexual organs, for
instance, in Ziegler's hall and over the door in Sharkey's.
Dave continues:
"Arabian Nights
----------------------
On first viewing I noticed the strange painting in Dr. Bill's waiting
room. The one in centre frame at the reception desk showing an arabic
figure furtively going down the alleyway. It's completely out of place
with the Xmas decorations. It looks similar to some Ali Baba or
Sindbad cartoon."
Do you mean the modernist semi-abstract painting on the wall to the
right of the surgery's reception desk (a miniature Xmas tree is on the
desk in front of it, along with an Xmas card)? From what I can make
out, the painting seems more in the tradition of a Dali or an Escher:
a cryptic "7" in the centre of the painting, a crouched nude in the
left-foreground, two distant figures under the 7 sign, and slightly
distorted architecture that does indeed have Arabic resonances. Again,
all of the paintings (we even see an illuminated one behind Bill in
the elevator as he enters the surgery) in the surgery are modernist.
Perhaps Kubrick is making some connection between the themes of
modernist art - alienation, fragmentation, the interior turmoil of the
artist - and the features of the professional "work" environment.
Padraig
... split
Padraig L Henry
wrote:
I should also have included the numerous EWS references to, and
instances of, the performing arts in the list below: Dance, music, and
theatre.
Dance: at Ziegler's party (Alice and Bill, Alice and the Hungarian),
and at the House (assorted couples dancing as Nick is led out).
Music: Nick's keyboard performances at Ziegler's party, at the Sonata
Cafe, and at the House.
Theatre: the three-act pseudo-Greek drama at the House in Summerton.
Act I: Red Cloak's masked ritual assignment of the circle of 11 women.
Act II: The orgy, book-ended by Mandy's warnings to Bill.
Act III: Bill's capture and interrogation, resolved by Mandy's
sacrificial intervention.
Padraig
Red Cloak - the prick with the stick.
Da...@aiwass.freeserve.co.uk
><I have split-open this long-delayed post/response into two halves for
>reasons of compactness and ... the follow-up post does precisely that
>too :-) >
>
>Da...@aiwass.freeserve.co.uk wrote:
>
>"Nutcracker
>-----------------
>
>I don't think anyone's mentioned that young Helena is dressed as the
>Sugar Plum Fairy at the beginning of the film. You can see her ballet
>shoes still on. That's why she wants to stay up to watch the
>"Nutcracker"."
>
>Yes, operatic/balletic references abound in EWS. In fact, the film -
>at one level - is a meditation on the relationship between art, and
>art history, and society. Kubrick has included a kaleidoscope - a
>rainbow - of art and cultural intertextual references in EWS, the
>first time he has explicitly chosen to do this since A Clockwork
>Orange, where the relationships between classical and modern art and
>Alex himself are more directly drawn and portrayed.
My take on the rainbow motif in the film is more of a Newtonian prism.
Thats why I originally mentioned the Keats line "unweaving the
rainbow" - it's reputed to be a comment by Keats on Newtons
destruction of the mystery and romance of the rainbow by scientific
investigation. I believe in EWS we are seeing things through a prism
being broken down into their constituent parts. We can see this in the
cinematography and in the relationship between Bill and Alice and the
society they inhabit. I think it can also be seen in the sub-themes
running through the film - the weaving/unweaving of story within
story.
>But we need to be a little cautious here, however, in terms of
>avoiding falling into the "intertextual-interpretative" trap of
>attempting to explain away particular EWS scenes by reference to the
>themes inherent in the art works that are cited in those scenes.
>
>Kubrick cites four operas/ballets in EWS:
>
>Indirectly: Shostakovitch's "Lady Macbeth" (meaning "bad lady" here -
>not a reference to Shakespeare - an opera coincidentally about "moral
>decay and sexual jealousy").
>Verbally (Helena): Tchaikovsky's "Nutcracker".
>In writing (Nick's password): Beethovan's "Fidelio".
>Aurally (in-scene soundtrack at Sharkey's): Mozart's "Requiem".
I disagree. Though obviously some literal interpretation of symbolism
will fall by the wayside, I believe in EWS there is a good case for
exploring it.
Lets take the Mozart "Requiem" example. I take the use of the requiem
as not only a symbol of the soon to be discovered knowledge of
Mandy's death, but also as a part of Dr. Bill dying.
>We can already start to see here how Kubrick is analyzing the
>different ways that a work of art >communicates< with the
>listener/viewer, with society (as well as how art is appropriated by
>that society).
Though that interpretation may be valid (I wouldn't argue with it) I
think it misses other depths to the film.
>That each of these operas/compositions deal with themes that relate,
>however tangentially, with those of EWS is of course a layering device
>that is commonly used in Kubrick's films. But Kubrick is primarily
>citing these musical works as part of a much wider, much more
>elaborate narrative agenda in EWS. The film, in fact, addresses and
>cites >all< of the arts: Classical painting (the circa 18th century
>portraits in Ziegler's pool room, the landscapes and
>Italian-architecture paintings in Marion's apartment);
>modern/contemporary painting in the classical fine-art tradition
>(Christiane and Katharina's paintings in the Harford's apartment,
>which are distinguished as contemporary through their use of vivid
>colours that add a greater richness and dimensionality than their
>classical counterparts); classical and modern sculpture (from Venetian
>masks to the sculptures at the base of Ziegler's stairs and in
>Marion's apartment); modernist figurative and semi-abstract painting
>(throughout Bill's surgery and office, e.g. the Modigliani portrait on
>the wall beside his desk; the reclining nude in Ziegler's bathroom);
>classical and modern architecture and design; classical and modern
>music (from soundtrack to in-scene jazz performances); poetry (Ovid);
>books (Alice gift-wrapping a book on Van Gogh, "Introducing Sociology"
>in Domino's bedroom); photography; TV and film (Blume in Love).
I agree here. I believe there could well be a sub-theme in the art
that we see, as well as the music. I hadn't mentioned it because I
haven't been able to name/place the art within the film (apart from
CK's and kckh's). Are you sure it's Modigliani (In the row of pictures
on Dr. Bill's office wall)? The style is very similar but I can't put
a name to the painting.
Remember also in Domino's room is the novel "Shadows on the Mirror".
Synopsis from Amazon: " In her third critically acclaimed crime novel,
Fyfield creates a wonderfully complex new heroine, Sarah Fortune. A
lawyer in a prestigious firm, Fortune loathes her dry profession and
provides intimate friendships to lonely men. Little does she suspect
that she's heading toward a confrontation with no escape.".
See:
http://www.aiwass.freeserve.co.uk/T/book.jpg
>The art objects are seamlessly positioned within EWS' mise en scene,
>but we can gradually begin to ascertain how they connect to the larger
>concerns of the film: those of inheritance, transference,
>communication, sensuality, objectification, spiritualization, and the
>representation of the self and reality, as well as the inter-relations
>between sexual desire and promiscuity, on the one hand, and marital
>concerns and commitments, on the other.
I agree here.
>It is important too, to notice that all of the art objects in EWS are
>almost completely devoid of religious imagery or reference
>(interesting, given that the whole of western art was largely founded
>on - and preoccupied with - religion). Even the Christmas decorations
>and designs, with the exception of the Xmas trees (though even >they<
>originated with the Royal family in Victorian England, and are as much
>a representation of commerce and consumerism as they are of domestic
>and spiritual romantic idealism), represent at varying levels a
>pre-religious, pagan sexuality - often a woman's sexual organs, for
>instance, in Ziegler's hall and over the door in Sharkey's.
I take the Christmas tree as symbol of many things: the pagan
evergreen symbol, the primal paradise tree, the consumer Xmas tree,
and perhaps a symbol of the emotional conflict/danger?? within each
scene.
For a fairly interesting rundown on the history of the Christmas tree
(its roots are older than Victoria and Albert) see:
http://www.ultranet.com/~tlclcms/chrtree.htm
>Dave continues:
>
>"Arabian Nights
>----------------------
>
>On first viewing I noticed the strange painting in Dr. Bill's waiting
>room. The one in centre frame at the reception desk showing an arabic
>figure furtively going down the alleyway. It's completely out of place
>with the Xmas decorations. It looks similar to some Ali Baba or
>Sindbad cartoon."
>
>Do you mean the modernist semi-abstract painting on the wall to the
>right of the surgery's reception desk (a miniature Xmas tree is on the
>desk in front of it, along with an Xmas card)? From what I can make
>out, the painting seems more in the tradition of a Dali or an Escher:
>a cryptic "7" in the centre of the painting, a crouched nude in the
>left-foreground, two distant figures under the 7 sign, and slightly
>distorted architecture that does indeed have Arabic resonances. Again,
>all of the paintings (we even see an illuminated one behind Bill in
>the elevator as he enters the surgery) in the surgery are modernist.
>Perhaps Kubrick is making some connection between the themes of
>modernist art - alienation, fragmentation, the interior turmoil of the
>artist - and the features of the professional "work" environment.
Yikes, I can't see any nude distant figures under the "7" sign, more's
the pity. Try looking again at:
http://www.aiwass.freeserve.co.uk/T/pic.jpg
I can't see any Dali/Escher influence there I'm afraid.
I'm quite willing to admit this paintings connection to the "Arabian
Nights" might be wildly wrong, I just thought it would be interesting
to see if there was any connection. I don't think I'm the first on
amk to comment on the "Arabian Nights" feel/theme.
Dave