Abstract

Holocaust representation in film has received much academic attention, with a focus on how cinematography and the narrative may assist our memorialization process. One aspect of film which has received little academic attention, however, is the issue surrounding the musical accompaniments of such films. The three countries of East, West and reunified Germany each attempted to engage with the Holocaust, including through the medium of film. They have done so in contrasting ways and to varying degrees of effectiveness. The opposing political, social and cultural environments of East and West Germany outweighed their geographical proximity. Likewise, reunified Germany developed a third, divergent approach to Holocaust engagement. This article examines a film co-produced by reunified Germany and the Czech Republic, and places the musicological study of its film score in an interdisciplinary context with film music theory, Holocaust representation in film, and German politics, history and culture. Through a textual analysis of the original and pre-existing score in Der letzte Zug (2006), this article examines how musical flashbacks in film offer the audience a sense of catharsis and respite from a challenging narrative, and engages with the significance of identity and religion in the music used during the flashbacks.

摘要

电影中的大屠杀表现受到了学术界的广泛关注，重点是电影摄影和叙事如何帮助我们的纪念过程。然而，电影中很少受到学术关注的一个方面是围绕此类电影的音乐伴奏的问题。东德、西德和统一后的德国三个国家都试图参与大屠杀，包括通过电影媒介。他们以截然不同的方式做到了这一点，并取得了不同程度的有效性。东德和西德政治、社会和文化环境的对立超过了它们地理上的接近。同样，统一后的德国制定了第三种不同的处理大屠杀的方法。本文探讨了统一后的德国和捷克共和国联合制作的一部电影，并将其电影配乐的音乐学研究置于电影音乐理论、电影中的大屠杀再现以及德国政治、历史和文化的跨学科背景下。通过对原始乐谱和预先存在的乐谱的文本分析在《Der letzte Zug》（2006）中，本文探讨了电影中的音乐倒叙如何为观众提供一种宣泄感以及从具有挑战性的叙事中得到喘息的感觉，并讨论了倒叙期间使用的音乐中身份和宗教的重要性。