LLoouuiissiiaannaa SSttaattee UUnniivveerrssiittyy LLSSUU DDiiggiittaall CCoommmmoonnss LSU Doctoral Dissertations Graduate School 2016 TThhee RReepprreesseennttaattiioonn ooff DDiissaabbiilliittyy iinn tthhee MMuussiicc ooff AAllffrreedd HHiittcchhccoocckk FFiillmmss John T. Dunn Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons RReeccoommmmeennddeedd CCiittaattiioonn Dunn, John T., "The Representation of Disability in the Music of Alfred Hitchcock Films" (2016). LSU Doctoral Dissertations. 758. https://digitalcommons.lsu.edu/gradschool_dissertations/758 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE REPRESENTATION OF DISABILITY IN THE MUSIC OF ALFRED HITCHCOCK FILMS A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Music by John Timothy Dunn B.M., The Louisiana Scholars’ College at Northwestern State University, 1999 M.M., The University of North Texas, 2002 May 2016 Acknowledgements I would like to thank my family, especially my wife, Sara, and my parents, Tim and Elaine, for giving me the emotional, physical, and mental fortitude to become a student again after a pause of ten years. I also must acknowledge the family, friends, and colleagues who endured my crazy schedule, hours on the road, and elevated stress levels during the completion of this degree. Special thanks go to Clara and Nathaniel Brown, Cara Waring, Les and Keeshea Rogers, and David and Kathy Marquiss for lending me a couch/bed to crash on. To my major professor, Dr. Blake Howe, I cannot completely express how much your work has meant to me in the completion of this document. Thank you for your patience and determination to turn a film music nut into a scholar. A very special thank you goes to the members of my committee who were willing to aid me in this endeavor as well. Also, to Bill Brent and Greg Handel: thanks for the flexibility in my schedule so I can keep a full-time job while also completing my studies. Finally, I would like to acknowledge the influences of Tony Smith and Jean D’Amato for believing in me all the years I took off between degrees. Dr. D’Amato had a way with words: “You gotta go back and get the damn thing, ya know. And make sure it is a PhD. Do it right.” I miss you. ii Table of Contents ACKNOWLEDGEMENTS……………………………………………………………………………………………………………..ii LIST OF FIGURES ……………………………………………………………………………………………………………………….iv LIST OF EXAMPLES……………………………………..………………………………………….………………………………..…v ABSTRACT…………………………………………………………………………………………………………………………………vii CHAPTER One. Disability in Film and Music: An Introduction……………………………………………….….......1 Representing Disability…………………………………………………………………………………….…1 Representations of Disability in Music………………………………………………………………..6 Two. Hitchcock and Herrmann: Style and Representation……………………………………………11 Bernard Herrmann’s Style …………………………………………………………………..………….…16 Representing Disability in Hitchcock’s Films………………………………………………….……21 Three. Music, Muteness, and Hysteria in The Man Who Knew Too Much……………….……30 The Man Who Knew Too Much’s Music…………………………………………………………….38 Four. Music as Signifiers for Disability in Vertigo…………………………………………………….......53 Vertigo’s Music…………………………………………………………………………………………………60 Five. The Sound of Insanity: Psycho and Strings…….……………………………………………………..85 Psycho’s Music………………………………………………………………………………………………….92 Six. Conclusion……………………………………………………………………………………………………………115 BIBLIOGRAPHY……………………………………………………………………………………………………………………….119 APPENDIX: Plot Summaries for Hitchcock’s Films………………………………………………………………..…128 The Man Who Knew Too Much…………………………………………………………………………………..128 Vertigo…………………………………………………………………………………………………………………..…..130 Psycho………………………………………………………………………………………………………………………..135 VITA………………………………………………………………………………………………………………………………..……..143 iii List of Figures 4.1. Cue Sheet for Vertigo………………………………………………………………………………………………………..63 4.2. Form of the “Prelude” in Vertigo……………………………………………………………………………………….74 4.3. Hypermeter of a hypothetical “normal” piece…………………………………………………………………..74 4.4. Hypermeter of “Prelude.” m. 1-16…………………………………………………………………………………….75 4.5. Alfred Hitchcock, Vertigo. Stills from the opening credits……………………………………………….…76 4.6. A list of cues featuring development, repetition, or variations of the “Madeleine” cue from Vertigo………………………………………………………………………………………………………………………………82 5.1. Promotional poster for Psycho………………………………………………………………………………………….86 5.2. Alfred Hitchcock, Psycho. Lila Crane startling herself in a double mirror…………………………...87 5.3. Saul Bass, frames from the opening credit sequence of Psycho…………………………………………88 iv List of Examples 1.1. Smetana, String Quartet No. 1 (“From My Life”), fourth movement, mm. 222-230……….…...6 1.2a. Berlioz, Symphonie fantastique; Idée fixe in the first movement, flute part mm. 72-102…..8 b. Berlioz, Symphonie fantastique; Idée fixe in the fifth movement, E-flat clarinet part mm. 40-60…………………………………………………………………………………………………………………………8 2.1 Franz Waxman, “Lisa” from Rear Window,” mm. 5-8……………………………….………………………..22 2.2. Bernard Herrmann, “Prelude” from Marnie, mm. 3-17……………………………………………………..28 4.1 Varieties of Seventh Chords……………………………………………………………………………………………….65 4.2. Herrmann, “Prelude” from Vertigo, mm. 1-2…………………………………………………………………….66 4.3. Combination of “Vertigo Chord” and “Obsession” Chord…………………………….……………………68 4.4. The “habanera rhythm”…………………………………………………………………………………………………….69 4.5. Bernard Hermann, flute part for “The Portrait,” mm. 1-8…………………………………………….……70 4.6. Bernard Herrmann, “Prelude” from Vertigo, mm. 1-9……………………………………………………….72 4.7. Bernard Herrmann, “The Prelude” mm. 39-55…………………………………………………………………..73 4.8. Herrmann, “Madeleine.” The score in reduction from Vertigo…………………………………..……..79 4.9. Bernard Herrmann, “Madeleine” cue with motivic identification from Vertigo…………………82 5.1. Bernard Herrmann, Psycho: “The Prelude” mm. 1-6. Harmonic reduction of the string parts reveals a series of minor-major seventh chords………………………………………….…………………….95 5.2. Four basic cells from “The Prelude” form the framework………………………………………………….96 5.3. Bernard Herrmann, reduction of “The Prelude” mm. 37-48………………………………………………97 5.4. Bernard Herrmann, reduction of “The City” from Psycho, mm. 1-3……………………………………99 5.5. Bernard Herrmann, reduction of “The Temptation” mm. 1-4 from Psycho………………………100 5.6. Herrmann, the “Madness Motif” from “The Madhouse,” cello and bass part, m. 1…………102 5.7. Herrmann, “The Madhouse,” viola and cello line, mm. 1-3……………………………………………..103 v 5.8. Herrmann, “The Madhouse,” violin 2, viola, and cello line, mm. 4-6 aligned with dialogue and shots from Psycho…………………………………………………………………………………………………….104 5.9. Herrmann, “The Madhouse,” mm. 15-19 aligned with dialogue and shots from Psycho….105 5.10. Hermann, “The Peephole,” mm. 1-10……………………………………………………………………………107 5.11. Herrmann, “The Peephole,” violins and violas mm. 19-26. Aligned with screenshots from Psycho……………………………………………………………………………………………………………………………………108 5.12. Herrmann, “The Murder” mm. 1-8………………………………………………………………………………..109 5.13. Herrmann, “The Murder,” mm. 21-37……………………………………………………………………………110 5.14. Herrmann, “The Discovery,” reduction of mm. 26-35……………………………………………………112 vi Abstract Several of Alfred Hitchcock’s movies feature characters with disabilities. Often, these characters are protagonists, and Hitchcock systematically manipulates his audiences to identify with these characters through the editing process, sound effects, and music. This dissertation will analyze the ways music represents various disabilities in three Hitchcock films. Vertigo (1958) addresses obsession and phobia as its main themes, whereas Psycho (1960) investigates obsession and madness. Finally, The Man Who Knew Too Much (1956) explores muteness, hysteria, and identity in the context of two pieces of diegetic music. Hitchcock made careful notes for the music in his films; songs represent disability through lyrics and in their use as part of a film’s underscore in specific scenes. A non-diegetic orchestral score often accompanied one of his films, so Hitchcock needed a composer to write music to accompany the visual track. For the three films discussed in length, that composer was Bernard Herrmann. Herrmann’s music choices closely reflect Hitchcock’s desires for that specific film (they worked on eight films together). Herrmann represents disability through his music through several techniques: bitonality, dissonance, atonality, cell-based melodic structures, ostinati, and the use of the minor-major seventh chord. The extensive use of these techniques in Hitchcock’s films distinguishes Herrmann from other contemporary Hollywood composers. vii Chapter One Disability in Film and Music: An Introduction Film director Alfred Hitchcock utilized sound (dialogue, music, and effects) in his films in innovative ways, often developing his complex characters and themes in the soundtrack as well as the image track. Many of his films deal explicitly or implicitly with disability, including physical disability in Rear Window (1954), mental and emotional disability in Vertigo (1958), Psycho (1960), and Marnie (1964), and muteness and hysteria in The Man Who Knew Too Much (1956). Although these disabilities are most readily apparent from the image track, the sound track—including musical scores, many by Bernard Herrmann—also communicates their presence and shapes their meanings.1 This dissertation will explore the theme of disability in Hitchcock’s films as developed by the sound track, demonstrating that the interdisciplinary field of Disability Studies can offer new perspectives and interpretive insights into these and other Hollywood films. REPRESENTING DISABILITY Scholars have studied disability in many forms and guises, and they define it along a number of paradigms. The Americans with Disabilities Act (1990), for example, defines a disabled person as someone who “has a physical or mental impairment that substantially limits one or more major life activity. This includes people who have a record of such an impairment, even if they do not currently have a disability. It also includes individuals who do not have a disability but are regarded as having a disability.”2 This definition, responding to the advocacy 1 Alfred Hitchcock’s nine-year collaboration with Bernard Herrmann lasted eight films, beginning with The Trouble With Harry (1955) and ending with Marnie (1964). 2 The Department of Health and Human Services, “The ADA: Frequently Asked Questions” (accessed November 21, 2015), https://adata.org/faq/what-definition-disability-under-ada. 1 of disability activists, differs from the medical model of disability, which treats disability as a physical or mental impairment within an individual and regards the limitations faced by people with disabilities as resulting primarily, or solely, from their impairments.3 By contrast, the social model defines disability as a “socially-derived bodily difference,”4 resulting from the interaction between an individual and her social environment: the exclusion of people with certain physical and mental characteristics from major domains of social life. Their exclusion is manifested not only in deliberate segregation, but in a built environment and organized social activity that preclude or restrict the participation of people seen or labelled as having disabilities.5 Once scholars began to think of disability as socially-derived, they discovered that it mirrors the scholarship of other identity categories, especially socially-stigmatized minority groups. Literary scholars David T. Mitchell and Sharon L. Snyder describe disability as an icon of other marginalized identities: religious, sexual, racial, and gender minorities are often marginalized on account of their bodily difference (e.g., the “Jewish nose,” the “exotic” body, the “hysterical woman,” or the “disease” of homosexuality). As a result, “disability has undergone a dual negation—it has been attributed to all ‘deviant’ biologies as a discrediting feature, while also serving as the material marker of inferiority itself. One might think of disability as the master trope of human disqualification.”6 It is this definition of disability that I 3 David Wasserman, Adrienne Asch, Jeffrey Blustein, and Daniel Putnam, "Disability: Definitions, Models, Experience," The Stanford Encyclopedia of Philosophy (Winter, 2015),ed. Edward N. Zalta (accessed on November 14, 2015), http://plato.stanford.edu/archives/win2015/entries/disability/. 4 Joseph Straus, Extraordinary Measures: Disability in Music (New York: Oxford University Press, 2011), 9. 5 Wasserman, et al. “Disability: Definitions, Models, Experience.” 6 David T. Mitchell and Sharon L. Snyder, Narrative Prosthesis: Disability and the Dependencies of Discourse (Ann Arbor: The University of Michigan Press, 2000), 3. 2