wolf

Symbolism and the leitmotif are invariably related. Gorbman (1987) states "A theme is by definition a musical element that is repeated during the course of a work; as such it picks up narrative associations, which, in turn, infuse themselves into each new thematic statement." (Gorbman, 1987, 17). Radocy and Boyle (1997) say that "Themes (incomplete melodies) may accompany particular characters, as exemplified by Wagner's use of the leitmotif in his operas and the use of themes to accompany characters in television situation comedies." (Radocy and Boyle, 1997, 53) The concept of the leitmotif is used extensively in film music, and owes its development to Wagner's employment of the leitmotif in his operas. Lack (1996) believes that the use of the leitmotif for dramatic purposes is so commonplace that it has lost its effectiveness. According to Buhler (2000) the leitmotif in film is only a pale imitation of the leitmotifs of the Wagnerian opera. The leitmotif in film is seen as only a way to help the audience orient itself, whereas the Wagnerian leitmotif can signify more than one concept through its connection to myth. Film music leitmotifs take their signifying function at face value, and sever this link to myth. Buhler believes that the concept of the leitmotif has become restricted by language, through our need to label everything including the individual leitmotif. Monelle (2000) agrees, stating that a leitmotif is rarely as simple as just naming something, it is usually far more complex.

London (2000) also addresses the issue of the leitmotif in film. His explanation of the leitmotif in film is that "… particular melodic and/or harmonic figures serve as sonic tokens for persons, objects, and/or ideas that have a significant role in the film's narrative." (London, 85). He states that leitmotifs are usually short and distinctive, and must still be recognisable even if orchestration, key, and tempo are varied. For him the leitmotif has three functions: it can "(1) underscore the obvious presence of a character, place, and so forth that is clearly visible on the screen; (2) indicate the presence of someone/something that is otherwise obscure (out of the frame, hidden in the scene, in disguise, and so forth); and (3) indicate the "psychological presence" of a character or idea, as when character A is contemplating the absent character B - we see A but hear B's leitmotif." (London, 89). The music in this instance represents the character B, and we make the cognitive connection that character A is thinking about character B.

In other words, in film, all the leitmotif does is say "there is danger" "this is love" or "he's thinking about Alice". It does this by using the musical theme we have come to associate with that concept, in a scene where the audience may not be able to see the underlying message through the visuals alone. So, in Jaws, we may see nothing but a calm blue ocean, but as soon as we hear that shark theme, the leitmotif, we know that appearances are deceiving because the shark is around. Popular songs can also be used as themes. They usually only represent a character or the character's state of mind. In Ally McBeal, the title character is told by her psychiatrist to find a theme song that will become her "pep" song. The way the song is manipulated in the course of each show gives the audience insight into her state of mind as she struggles to pep herself up by audiating the song. In the same show, another character uses a Barry White song in the same way to make himself feel more confident and sexy. It seems then that a character can be related quite intimately to the music that accompanies him/her, and indeed shape the piece of music through this relationship. Furthermore, a character's audiation is like the leitmotif in its more complex Wagnerian form. It is necessary, then, to look at the character within a film, and how the character functions within the narrative, in order to determine how audiation is related to the character in film music.