Music, Collective Memory, Trauma, and Nostalgia in European Cinema after the Second World War (Music and Sound on the International Screen)

In the wake of World War II, the arts and culture of Europe became a site where the devastating events of the 20^th^ century were remembered and understood. Exploring one of the most integral elements of the cinematic experience—music—the essays in this volume consider the numerous ways in which post-war European cinema dealt with memory, trauma and nostalgia, showing how the music of these films shaped the representation of the past. The contributors consider films from the United Kingdom, Poland, the Soviet Union, France, Italy, Germany, Sweden, Austria, and the Netherlands, providing a diverse and well-rounded understanding of film music in the context of historical memory. Memory is often underrepresented within scholarly musical studies, with most of these applications found in the disciplines of ethnomusicology, popular music studies, music cognition, and psychology and music therapy. Likewise, trauma has mainly been studied in relation to music in only a few historical contexts, while nostalgia has attracted even less academic attention. In three parts, this volume addresses each area of study as it relates to the music of European cinema from 1945 to 1989, applying an interdisciplinary approach to investigate how films use music to negotiate the precarious relationships we maintain with the past. __Music, Collective Memory, Trauma, and Nostalgia in European Cinema after the Second World War__ offers compelling arguments as to what makes music such a powerful medium for memory, trauma and nostalgia. "In the wake of World War II, the arts and culture of Europe became a site where the devastating events of the 20th century were remembered and understood. Exploring one of the most integral elements of the cinematic experience--music--the essays in this volume consider the numerous ways in which post-war European cinema dealt with memory, trauma and nostalgia, showing how the music of these films shaped the representation of the past. The contributors consider films from the United Kingdom, Poland, the Soviet Union, France, Italy, Germany, Sweden, Austria, and the Netherlands, providing a diverse and well-rounded understanding of film music in the context of historical memory. Memory is often underrepresented within scholarly musical studies, with most of these applications found in the disciplines of ethnomusicology, popular music studies, music cognition, and psychology and music therapy. Likewise, trauma has mainly been studied in relation to music in only a few historical contexts, while nostalgia has attracted even less academic attention. In three parts, this volume addresses each area of study as it relates to the music of European cinema from 1945 to 1989, applying an interdisciplinary approach to investigate how films use music to negotiate the precarious relationships we maintain with the past. Music, Collective Memory, Trauma, and Nostalgia in European Cinema after the Second World War offers compelling arguments as to what makes music such a powerful medium for memory, trauma and nostalgia."-- Provided by publisher Cover 1 Half Title 2 Series Page 3 Title Page 4 Copyright Page 5 Dedication 6 Contents 8 Introduction 10 PART I: Collective Memory and (Trans-)Nation 32 1 A Fanfare Floating Beneath Sea Level: Music as a Sonic Lieu de Mémoire of Dutch Cultural Identity on Film 34 2 Which People’s Music? Witnessing the Popular in the Musicscape of Giuseppe De Santis’s Riso amaro (1949, Bitter Rice) 54 3 Phantoms of Italian Opera—Cultural Memory in Italian and (West) German Films 79 4 A Bridge Too Far? Music in the British War Film, 1945–80 95 PART II: Trauma and Survival 118 5 Hidden in Plain View: The Music of Holocaust Survival in Poland’s First Post-war Feature Film 120 6 Empathy, Ethics, and Film Music: Alfred Schnittke and Larisa Shepit’ko’s Voskhozhdenie (1977, The Ascent) 147 7 Fugue States: Music, Memory, and Trauma in Alain Resnais’s Early 1960s Films 168 8 Re-Sounding Trauma: Sonic Flashbacks in the Films of Jan Troell 193 PART III: Nostalgia, and the Impossible Returns Home 216 9 Decomposing Heroism: Rolf Wilhelm’s Music for Radetzkymarsch (1965) 218 10 The Music of Sacrificial Acts: Displacement, Redemption, Beethoven, and Verdi in Andrei Tarkovsky’s Nostalghia (1983) 244 11 “Chopin Meant Everything to Us Then”: Chopin Nostalgia in Polish Cinema, 1944–91 262 12 Returning Home: Critical Nostalgia and French Cinematic Illusion in the Post-war Musical Films of René Clair and Jean Renoir 285 Contributors 308 Index 312