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Soundscapes of Trauma and the Silence of Revenge in Peter Strickland's Katalin Varga

Soundscapes of Trauma and the Silence of Revenge in Peter Strickland's Katalin Varga In a climate where abstinence from using non-diegetic music seems to be the only form of resistance to the mainstream practice of excessive, exploitative employment of music, Peter Strickland’s film Katalin Varga represents an unusual phenomenon in both British and European cinema. Winner of the Silver Bear for outstanding sound design at the 2009 Berlinale1, greatly influenced by the director’s passion for electroacoustic music and informed by his ` experience of creating musique concrete with the Sonic Catering Band, Strickland’s debut also features striking musical material which engages with the film’s emotional core through daring and unsettling audio-visual juxtapositions while its elaborate sound design reflects the ambiguity with which the film explores its themes of morality, trauma and revenge. My article looks at the musical aspects of Peter Strickland’s working process and explores different modes in which sound design and the musical layers of Katalin Varga’s soundscapes relate to the emotional and moral aspects of the story in the context of an interrogative text. It also reveals how non-diegetic musical material takes part in constructing the temporal arc of the protagonist’s The New Soundtrack 1.1 (2011): 57–71 DOI: 10.3366/sound.2011.0006 # Edinburgh University Press www.eupjournals.com/SOUND KEYWORDS sound design musique http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The New Soundtrack Edinburgh University Press

Soundscapes of Trauma and the Silence of Revenge in Peter Strickland's Katalin Varga

Kulezic-Wilson, Danijela
The New Soundtrack , Volume 1 (1): 57 – Mar 1, 2011
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Publisher
Edinburgh University Press
Copyright
© Edinburgh University Press
Subject
Articles; Film, Media and Cultural Studies
ISSN
2042-8855
eISSN
2042-8863
DOI
10.3366/sound.2011.0006
Publisher site
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Abstract

In a climate where abstinence from using non-diegetic music seems to be the only form of resistance to the mainstream practice of excessive, exploitative employment of music, Peter Strickland’s film Katalin Varga represents an unusual phenomenon in both British and European cinema. Winner of the Silver Bear for outstanding sound design at the 2009 Berlinale1, greatly influenced by the director’s passion for electroacoustic music and informed by his ` experience of creating musique concrete with the Sonic Catering Band, Strickland’s debut also features striking musical material which engages with the film’s emotional core through daring and unsettling audio-visual juxtapositions while its elaborate sound design reflects the ambiguity with which the film explores its themes of morality, trauma and revenge. My article looks at the musical aspects of Peter Strickland’s working process and explores different modes in which sound design and the musical layers of Katalin Varga’s soundscapes relate to the emotional and moral aspects of the story in the context of an interrogative text. It also reveals how non-diegetic musical material takes part in constructing the temporal arc of the protagonist’s The New Soundtrack 1.1 (2011): 57–71 DOI: 10.3366/sound.2011.0006 # Edinburgh University Press www.eupjournals.com/SOUND KEYWORDS sound design musique

Journal

The New Soundtrack – Edinburgh University Press

Published: Mar 1, 2011

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