The concept of the Gesamtkunstwerk in the History and Theory of Film Music (From early prescriptive writings on film-music practice to recent theoretical considerations of the status of music in cinema, Richard Wagner’s name has consistently reappeared. This consistent presence in the literature tends to establish his position in the lineage of cinema as something inherent, which complicates the assessment of his true influence.)
Wagner is often regarded as the ultimate role model for film-music composers and performers. Kibdly concept like the Gesamtkunstwerk, unendliche Melodie, and the Leitmotiv are widely discussed, often without directly associating them with Wagner or recognizing his own theoretical exploration of these concepts. While some sporadically criticize his influence, it is more common for filmmakers to be criticized for not embodying enough of Wagner’s style.
In summary, Wagner’s significance is widely recognized, but it is not clear how his influence was transmitted to film. The Wagnerist texts often lack clarity, indicating that less rigorous methods were likely more common. We need to critically evaluate this specific form of Wagnerism to understand it. My goal in the following is not to deny the presence of elements in film and film music that can be defined as Wagnerian.
The question at hand is not simply about Wagner, but rather “Why Wagner?” This question covers not only why Wagner’s music was considered an exemplar, but also delves into the deeper and more significant inquiries about why the name “Wagner” is ubiquitous and what purpose it serves in discussions about film and its accompanying music. In this context, “Wagner” holds the status of a fetish object, regularly invoked as a method of denial.
The fetish object in classic psychoanalytic terms serves to repress the knowledge of castration or lack. Similarly, the fetishization of “Wagner” as the supposed unifier of the arts in Musikdrama represses knowledge of the lack of unity in film and the material heterogeneity of the cinematic apparatus. Throughout the history of film-music practice and theoretical discussions on music in cinema, the name Richard Wagner has consistently emerged.
The persistence of Wagner in literature has made it hard to determine the true extent of his influence on cinema. He is often seen as a model for film-music composers and performers to emulate, and his ideas like the Gesamtkunstwerk, unendliche Melodie, and the Leitmotiv are commonly discussed without being directly linked to him or his own theoretical explanations.
There are times when his influence is criticized, but more often than not, film music practitioners face criticism for not embodying the essence of Wagner. Essentially, Wagner’s significance is assumed, yet the ways in which his influence has been transmitted to the world of film are uncertain and varied. Could it be through secondary sources and popular writings? Is it through widely known information about his techniques? Perhaps it is through witnessing live performances of his music dramas or studying his scores?
When closely analyzing Wagnerist texts, it becomes apparent that less rigorous approaches were likely more common due to their vague nature. To truly understand this specific form of Wagnerism, it is important to take a critical step back. The goal of the following discussion is not to deny the presence of elements in film and film music that can be classified as Wagnerian. Instead, the focus lies on the question of “Why Wagner?” This inquiry explores why Wagner’s music was seen as a model and delves into the metatheoretical aspects of why Wagner’s name is inescapable and what purpose the name and concept of “Wagner” serve in discussions about film and its music. A review of the relevant literature with these questions in mind reveals the widespread presence of Wagner and a tendency among many theorists to exaggerate Wagner’s influence in an all-encompassing manner. Furthermore, these theorists often misinterpret both Wagner’s own practices and the work of film composers, while also treating “Wagner” as a coherent and stable symbol.
The status of “Wagner” in this context is that of a fetish object, used ritualistically as a way of denying something. Similar to how a fetish object in psychoanalytic terms is used to deny a lack or absence (to suppress the understanding of castration), the fetishization of “Wagner” – the alleged unifier of the arts in Musikdrama – serves to suppress awareness of the inherent lack of unity in film, and the varied materials used in the cinematic apparatus.
In the realm of film as art, it is vital to overlook the tarnish on cinema’s reputation as a non-unique, mechanically reproduced, popular medium. The assertion of unity and completeness is more of an ideological modern-day Wagnerism rather than having an impact on technique or overall sound. If film music is or has been influenced by Wagner, it is mostly in the form of wishful thinking.
