Jonny Greenwood, la inmersión perfecta en el cine de Paul Thomas Anderson
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Universidad Europea de Madrid
info
ISSN: 2659-6482
Year of publication: 2019
Volume: 1
Issue: 2
Pages: 117-131
Type: Article
More publications in: Popular Music Research Today: revista online de divulgación musicológica
Abstract
The depletion of the film music language runs parallel to the traditional film language. In a time in which the proliferation of platforms for consumption of audiovisual products has diversified it, and when the assumption of new media has changed the way of contemplating moving images; aesthetical changes are needed. A filmmaker like Paul Thomas Anderson still relies on traditional parameters, although he always puts them in question in his films. Create a new feature from the traditional base is the most original way to face those changes that are necessary for a new cinema that captivates the cinephile and all those who needs a solid story on the screen. Jonny Greenwood’s music fulfills accurately that objective starting on the narrative accompaniment of the action. The traditional orchestra plays new sounds taken from a contemporary language that does not want to leave the tradition. On the one hand a step back, the current language of film music relies so much on machinery; on the other hand, a step forward in a style very far from the great musical mainstream that recovers original sounds, as well as the films made by Paul Thomas Anderson rescues lost emotions in today's cinema.
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