238
Revista de Comunicación de la SEECI. (Junio 2015).
Año XIX
(37), 238-267
ISSN: 1576-3420
INVESTIGACIÓN/RESEARCH
COMPOSITION, VARIATION AND FUNCTIONS OF THE
LEITMOTIV IN THE UNIVERSE INDIANA JONES
Teresa Piñeiro Otero
1
: Universidade da Coruña, Spain.
teresa.pineiro@udc.es
ABSTRACT:
Film soundtrack assumes an essential role in the viewer's experience. Music
contributes to the image with effects, feelings and meanings that endow audiovisual
storytelling with a new dimension. The use of certain compositions like leitmotivs has
made it possible to establish some audiovisual codes with the viewers, for an
enriched reading of the cinematographic story. The integration of these recurrent
themes allows multiple narrative and expressive possibilities, so its use has been
quite frequent in film music. Authors like John Williams have made leitmotivs their
personal hallmark and they have come to develop a suitable code for their
compositions and use. The aim of this paper is to make an analysis of the use of
leitmotivs in the Indiana Jones saga. An analysis from a narrative perspective of the
musical speech.
KEY WORDS: Film – Soundtrack – Film music – Leitmotiv – Audiovision – John
Williams – Indiana Jones
COMPOSICIÓN, VARIACIÓN Y FUNCIONES DEL LEITMOTIV EN
EL UNIVERSO INDIANA JONES
RESUMEN:
La banda sonora de las películas asume un papel esencial en la experiencia del
espectador. La música aporta a la imagen una serie de efectos, sensaciones y
significados que dotan de una nueva dimensión a la narración audiovisual. El empleo
de determinadas composiciones como los leitmotivs ha permitido establecer unos
códigos audiovisivos con los espectadores, para una lectura enriquecida del relato
cinematográfico. La integración de estos motivos recurrentes permite diversas
posibilidades narrativas y expresivas por lo que su empleo ha sido bastante frecuente
en la música fílmica. Autores como John Williams han hecho de los leitmotivs su sello
1
Teresa Piñeiro Otero: Universidade da Coruña. Spain.
teresa.pineiro@udc.es
Recibido: 17/03/2015-----Aceptado: 19/05/2015 ----Publicado: 15/07/2015
11
Revista de Comunicación de la SEECI. (Marzo 2015).
Año XIX
(36), 11-19
ISSN: 1576-3420
INVESTIGACIÓN/RESEARCH
NEW TELEVISION MELODRAMA ACTORS: AN EXAMPLE, BELEN
ESTEBAN
Ramón Navarrete-Galiano Rodríguez
1
University of Sevilla.
galia[email protected]
ABSTRACT:
The current Spanish television programs have generated a series of characters that
resemble the traditional archetypes of movie genres. A case is that of Belén Esteban,
a participant in television programs of society or the heart. Due to her vital
experience, this young woman symbolizes the archetype of a melodramatic heroin.
Analyzing her career, we found out that she completely fits in with the components
of the canonical melodrama icons.
KEY WORDS: Television- society programs - archetypes melodramatic - new
melodramatic heroin.
NUEVOS PROTAGONISTAS DEL MELODRAMA TELEVISIVO: UN
EJEMPLO, BELEN ESTEBAN
RESUMEN:
La programación televisiva actual española ha generado una serie de personajes que
se asemejan a los arquetipos tradicionales de los géneros cinematográficos. Un caso
es el de Belén Esteban, participante en los programas televisivos de sociedad o del
corazón. Esta joven por su experiencia vital, simboliza el arquetipo de una heroína
melodramática. Analizando su trayectoria comprobamos que se adecua por completo
a los componentes de los iconos del melodrama canónico.
PALABRAS CLAVE: Televisión - programas de sociedad - arquetipos
melodramáticos - nueva heroína melodramática.
1. INTRODUCTION
1
Ramón Navarrete-Galiano: is a journalist and has been associate professor for four years at the
Faculty of Communication at the University of Seville. He has published several books, including the
volume "Galdós in the Spanish cinema", which is based on his doctoral thesis.
e-mail:
[email protected]
Recibido: 26/11 /2014-----Aceptado: 17/01/2015-----Publicado: 15/03/2015
Revista de Comunicación de la SEECI (Julio 2015). Año XIX (37), 211-267
ISSN: 1576-3420
DOI: hp://dx.doi.org/10.15198/seeci.2015.37.211-267
INVESTIGACIÓN / RESEARCH
238
238
Revista de Comunicación de la SEECI. (Junio 2015).
Año XIX
(37), 238-267
ISSN: 1576-3420
INVESTIGACIÓN/RESEARCH
COMPOSITION, VARIATION AND FUNCTIONS OF THE
LEITMOTIV IN THE UNIVERSE INDIANA JONES
Teresa Piñeiro Otero
1
: Universidade da Coruña, Spain.
teresa.pineiro@udc.es
ABSTRACT:
Film soundtrack assumes an essential role in the viewer's experience. Music
contributes to the image with effects, feelings and meanings that endow audiovisual
storytelling with a new dimension. The use of certain compositions like leitmotivs has
made it possible to establish some audiovisual codes with the viewers, for an
enriched reading of the cinematographic story. The integration of these recurrent
themes allows multiple narrative and expressive possibilities, so its use has been
quite frequent in film music. Authors like John Williams have made leitmotivs their
personal hallmark and they have come to develop a suitable code for their
compositions and use. The aim of this paper is to make an analysis of the use of
leitmotivs in the Indiana Jones saga. An analysis from a narrative perspective of the
musical speech.
KEY WORDS: Film – Soundtrack – Film music – Leitmotiv – Audiovision – John
Williams – Indiana Jones
COMPOSICIÓN, VARIACIÓN Y FUNCIONES DEL LEITMOTIV EN
EL UNIVERSO INDIANA JONES
RESUMEN:
La banda sonora de las películas asume un papel esencial en la experiencia del
espectador. La música aporta a la imagen una serie de efectos, sensaciones y
significados que dotan de una nueva dimensión a la narración audiovisual. El empleo
de determinadas composiciones como los leitmotivs ha permitido establecer unos
códigos audiovisivos con los espectadores, para una lectura enriquecida del relato
cinematográfico. La integración de estos motivos recurrentes permite diversas
posibilidades narrativas y expresivas por lo que su empleo ha sido bastante frecuente
en la música fílmica. Autores como John Williams han hecho de los leitmotivs su sello
1
Teresa Piñeiro Otero: Universidade da Coruña. Spain.
teresa.pineiro@udc.es
239
Revista de Comunicación de la SEECI. (Junio, 2015).
Año XIX
(nº 37), 238-267
personal, llegando a desarrollar un código propio para su composición y uso. En este
sentido, el presente trabajo ha tenido por objeto efectuar un análisis del uso de los
leitmotivs en la saga de Indiana Jones. Un análisis que se abordó desde una
perspectiva narrativa del discurso musical.
PALABRAS CLAVE: Cine – Banda sonora – Música fílmica– Leitmotiv – Audiovisión
– John Williams – Indiana Jones.
1. INTRODUCTION
Music has a key role in our audiovisual experience. Although in a cinematographic
story the image is the conscious focus of attention, the soundtrack is the one that
contributes a series of effects, sensations and meanings that endow the audio-visual
story with a new dimension.
As Elmer Bernstein points out, movies conspire with imagination so that the
spectator escapes his reality and immerses himself in a spontaneous trip along his
unconsciousness. In this sense “Music is, probably, one of the best insulators of
reality. Out of all arts, music is the one that more straightly appeals to emotions””
(Bernstein quoted in Burt, 1994: p.10)
Music can condition the scope of a movie; endow the story with a narrative structure,
communicate its ambience, tone and even genre; underline the type and size of the
space; emphasize the energy of the action; present the inner life, thoughts and
feelings of a character … all in all, it can contribute the perspective of the director
with regard to the treated topic. In this sense Gobman (1987) referred to
"commutación" as the capacity of music to describe to the full the essence of a
movie.
From the moment music burst onto screen, it impinges on the creation and definition
of the cinematic narrative development, as well as on the construction of the
audiovisual speech from perspectives as diverse as formal, narrative, dramatic,
esthetic or psychological (Torrelló and Durán, 2014: p. 111).
The soundtrack, therefore, is not located in the same plane as the image but they
are juxtaposed instead, thus achieving its meaning due to the relation it establishes
with in the cinematic space (Aumont and Marie, 1990).
This phenomenon for which Chion coined the term "audiovision" (1990) constitutes a
complex perceptive organization – unique and indivisible - that allows us to indicate
certain structures to produce sense (Costantini, 2002). Following Bernard Herrmann
“music constitutes a communicative link between the screen and the public, reaching
and developing everything in a unique experience”.
Despite the relevancy of the soundtrack in the audiovisual story, its use has scarcely
been studied. Although it is implicit in the cinematic theories, the role of music in
239
240
Revista de Comunicación de la SEECI. (Junio, 2015).
Año XIX
(nº 37), 238-267
movies has not been rigorously approached until the 1970s with the irruption of the
contemporary theories of the audiovisuals. Today, academic research chooses to
make approaches to certain aspects of the contemporary soundtrack from the
analysis of concrete movies. A typology of analysis as that proposed for the tetralogy
of Indiana Jones:
Raiders of the Lost Ark, 1981; Indiana Jones and the Temple of
Doom, 1984; Indiana Jones and the Last Crusade, 1989; and Indiana Jones and the
kingdom of the Crystal Skull, 2008.
1.1. Music in Indiana Jones
In the movies of Steven Spielberg, the saga of Indiana Jones ranks as fiction based
on ancient series of television, following the categorization proposed by Peña (2009).
George Lucas wanted to develop a saga of adventures that kept the essence of the
serials that became popular in the 1930s and 1940s. This project materialized in the
early 1980s with
Raiders of the Lost Ark
(1981), directed by Spielberg, which
introduces Henry Walton Jones Jr, better known as Indiana Jones.
Since the first delivery, one perceives the tribute of the movies of Indiana Jones to
the rhythm and style of the ancient serials of adventure, also with the creation of a
hero and a narrative universe that refer to diverse referents of the popular culture of
the first half of the 21
st
century. Among them is James Bond himself, whose style is
imitated by Jones in his visit to the club in
The Temple of Doom.
Harrison Ford personifies the hero of the comics and the little novels of adventure of
the 1930s. Although he is a mercenary, he is provided with an aura of heroism that
draws upon the passion with which Jones develops every order. As George Lucas
points out (quoted in Champin, 1992, p. 79 and centuries) rather than moving out of
money, Indiana Jones moves out of the emotion of search, what makes him love
archaeology and, with this, his role in the discovery of the truth on the ancient
civilizations and history.
Inspired in the great myths, Indiana Jones has characteristics like strength,
quickness and ingenuity, and certain sex appeal - as his pupils accredit – which
makes it possible to introduce a romantic plot in the movies. As many adventure
heroes, Jones has a double personality as a teacher and an archaeologist; a
profession that will make him leave his chair at Barnett University to look for key
objects in the history of mankind. All these characteristics make Jones the
embodiment of the archetype of a hero capable of facing any adversity (Aschieri,
1998: p. 252).
Jones’s characterization has important similarities with Charlton Helston in
The Secret
of the Incas
, 1954. Although, as LópezOlano points out (2001, P. 77), his famous hat
(a brown fedora) is based on the character played by Humphrey Bogart in
The
treasure of the Sierra Madre, 1948.
The sonorous and musical setting of the saga of Indiana Jones has also been
inspired by the soundtrack – in its widest sense - of the serials of adventure that
240
240
Revista de Comunicación de la SEECI. (Junio, 2015).
Año XIX
(nº 37), 238-267
movies has not been rigorously approached until the 1970s with the irruption of the
contemporary theories of the audiovisuals. Today, academic research chooses to
make approaches to certain aspects of the contemporary soundtrack from the
analysis of concrete movies. A typology of analysis as that proposed for the tetralogy
of Indiana Jones:
Raiders of the Lost Ark, 1981; Indiana Jones and the Temple of
Doom, 1984; Indiana Jones and the Last Crusade, 1989; and Indiana Jones and the
kingdom of the Crystal Skull, 2008.
1.1. Music in Indiana Jones
In the movies of Steven Spielberg, the saga of Indiana Jones ranks as fiction based
on ancient series of television, following the categorization proposed by Peña (2009).
George Lucas wanted to develop a saga of adventures that kept the essence of the
serials that became popular in the 1930s and 1940s. This project materialized in the
early 1980s with
Raiders of the Lost Ark
(1981), directed by Spielberg, which
introduces Henry Walton Jones Jr, better known as Indiana Jones.
Since the first delivery, one perceives the tribute of the movies of Indiana Jones to
the rhythm and style of the ancient serials of adventure, also with the creation of a
hero and a narrative universe that refer to diverse referents of the popular culture of
the first half of the 21
st
century. Among them is James Bond himself, whose style is
imitated by Jones in his visit to the club in
The Temple of Doom.
Harrison Ford personifies the hero of the comics and the little novels of adventure of
the 1930s. Although he is a mercenary, he is provided with an aura of heroism that
draws upon the passion with which Jones develops every order. As George Lucas
points out (quoted in Champin, 1992, p. 79 and centuries) rather than moving out of
money, Indiana Jones moves out of the emotion of search, what makes him love
archaeology and, with this, his role in the discovery of the truth on the ancient
civilizations and history.
Inspired in the great myths, Indiana Jones has characteristics like strength,
quickness and ingenuity, and certain sex appeal - as his pupils accredit – which
makes it possible to introduce a romantic plot in the movies. As many adventure
heroes, Jones has a double personality as a teacher and an archaeologist; a
profession that will make him leave his chair at Barnett University to look for key
objects in the history of mankind. All these characteristics make Jones the
embodiment of the archetype of a hero capable of facing any adversity (Aschieri,
1998: p. 252).
Jones’s characterization has important similarities with Charlton Helston in
The Secret
of the Incas
, 1954. Although, as LópezOlano points out (2001, P. 77), his famous hat
(a brown fedora) is based on the character played by Humphrey Bogart in
The
treasure of the Sierra Madre, 1948.
The sonorous and musical setting of the saga of Indiana Jones has also been
inspired by the soundtrack – in its widest sense - of the serials of adventure that
241
Revista de Comunicación de la SEECI. (Junio, 2015).
Año XIX
(nº 37), 238-267
infested the popular images in the 1930s and 1940s. Given its character of movie of
action, music tries to generate certain sense of expectancy in the spectators,
arousing excitement across vivid orchestrations, certain composing progressions and
rhythmic vitality (Bezuidenhout, 2009).
As Boam indicates (quoted in Aschieri, 1998: p. 267) “George Lucas and Steven
Spielberg have created a very new genre out of a very old one”.
Indeed, the saga of Indiana Jones entails a renewal in the genre, to which Williams’s
score has greatly contributed, William is a composer with whom Spielberg has
formed one of the more long-lived and fruitful creative tandems in Hollywood (with
more than one score of movies and a television output from 1974). This relationship
has led to considering some of the composing characteristics of Williams within the
author's style of Spielberg (Caldevilla, 2005).
The soundtrack of the saga is one of the most popular and energetic scores by
Williams, especially as regards the topic of Indiana Jones (Aschieri, 1998: p. 252).
Although the main attributes of the famous archaeologist are his brown fedora and
his whip, it is unthinkable to speak about Indiana Jones without remembering its
musical topic.
Im age 1: Leitmotiv of Indiana Jones.
Beyond the main topic, music in the tetralogy turns out to be essential for the final
experience of the spectator.
As a serial story fragmented into four movies, the incidental music plays an
outstanding role in the coherence and continuity of the series. Following George
Lucas when he considers the continuation of a movie, there is an established
discipline that works as a sonata or “haiku“. Although it is possible to appeal to a
certain creative freedom, once you have developed a style and a genre, you must be
faithful to them (Quoted in Champlin, 1992: p. 153).
In addition to its being used as a continuity element, music in the saga of Indiana
Jones has been used also with a descriptive - narrative character. The predilection of
Williams for the leitmotiv has provided a new narrative dimension for characters and,
even, for outstanding objects the presence of which becomes clear whenever the
their accompanying thematic music is played.
241
242
Revista de Comunicación de la SEECI. (Junio, 2015).
Año XIX
(nº 37), 238-267
The original score of the movie also includes some compositions that (type of scale,
tonality, harmony, orchestration, etc.) refer to the place and historical moment
where the action develops. An example of it is the theme “The Temple of Doom”,
belonging to the soundtrack of
Indiana Jones y The Temple of Doom
(1984) which
instrumentation, tone and even the lyrics of the song – written in Sanskrit - try to
create a convincing ambience of time and place. The effect that Aaron Coplan calls
“a local color” of music.
From the perspective of the action, Frith (1988) has emphasized the use of the
harmonic rhythm to back the narrative plot. Whenever this plot is solved, music
reflects it by accompanying this action in a consonant way. In the same way the
background music of the characters is more dissonant when the conflict appears, and
it acquires a more consonant form when it is about to end (Frith, 1988).
For the exploits of Jones, Williams captures every visual scenic tone and integrates it
in the score as if it were a ballet. This is the case of “Desert Chase“, one of the
sections of the movie
Raiders of the Lost Ark
(1981), the conception of which is
defined by the composer as follows:
I visualized it like a kind of musical piece that has a beginning, a development and
an end, and calculating the series of times and variable times. I tried to design it
almost like a ballet, which can contribute a certain entertaining and adventurous
aspect to this character played by Harrison Ford. The music can sound serious, but it
is not really serious, it has been conceived in a more theatrical way and I hope that it
should always have the aspect of entertainment or equal field on it (John Williams
quoted in Aschieri, 1998: p. 253).
As Caldevilla points out (2000, p. 913 and ss) three typologies of descriptive -
narrative music can be highlighted in Spielberg’s saga, concerning the moment of
their insertion: precedent, concomitant and consistent.
• The precedent music is inserted before the action and contributes information
about its ending, as happens in the scene of escaping the Well of Souls of In
Raiders of the Lost Ark
(1981).
• The concomitant musician accompanies the image during the appearance of
characters and development of the action, it is the most common one in the
whole saga.
• Finally, the consistent music is that which goes behind the action, completing
its meaning. It is not very usual in the saga and its use is restricted to those
sequences the resolution of which does not seem very clear, maintaining
uncertainty. An example of this is in the escape from the mine in
Indiana
Jones and the Temple of Doom
.
Following Caldevilla, the concomitant music is the one that reveals the personal
hallmark of the composer while acting as a vehicle for most of the appearances of
the leitmotivs as well as those compositions that help spectators to be located in a
concrete time-space. "Spielberg-Williams binomial is strongly evident in this section
242
242
Revista de Comunicación de la SEECI. (Junio, 2015).
Año XIX
(nº 37), 238-267
The original score of the movie also includes some compositions that (type of scale,
tonality, harmony, orchestration, etc.) refer to the place and historical moment
where the action develops. An example of it is the theme “The Temple of Doom”,
belonging to the soundtrack of
Indiana Jones y The Temple of Doom
(1984) which
instrumentation, tone and even the lyrics of the song – written in Sanskrit - try to
create a convincing ambience of time and place. The effect that Aaron Coplan calls
“a local color” of music.
From the perspective of the action, Frith (1988) has emphasized the use of the
harmonic rhythm to back the narrative plot. Whenever this plot is solved, music
reflects it by accompanying this action in a consonant way. In the same way the
background music of the characters is more dissonant when the conflict appears, and
it acquires a more consonant form when it is about to end (Frith, 1988).
For the exploits of Jones, Williams captures every visual scenic tone and integrates it
in the score as if it were a ballet. This is the case of “Desert Chase“, one of the
sections of the movie
Raiders of the Lost Ark
(1981), the conception of which is
defined by the composer as follows:
I visualized it like a kind of musical piece that has a beginning, a development and
an end, and calculating the series of times and variable times. I tried to design it
almost like a ballet, which can contribute a certain entertaining and adventurous
aspect to this character played by Harrison Ford. The music can sound serious, but it
is not really serious, it has been conceived in a more theatrical way and I hope that it
should always have the aspect of entertainment or equal field on it (John Williams
quoted in Aschieri, 1998: p. 253).
As Caldevilla points out (2000, p. 913 and ss) three typologies of descriptive -
narrative music can be highlighted in Spielberg’s saga, concerning the moment of
their insertion: precedent, concomitant and consistent.
• The precedent music is inserted before the action and contributes information
about its ending, as happens in the scene of escaping the Well of Souls of In
Raiders of the Lost Ark
(1981).
• The concomitant musician accompanies the image during the appearance of
characters and development of the action, it is the most common one in the
whole saga.
• Finally, the consistent music is that which goes behind the action, completing
its meaning. It is not very usual in the saga and its use is restricted to those
sequences the resolution of which does not seem very clear, maintaining
uncertainty. An example of this is in the escape from the mine in
Indiana
Jones and the Temple of Doom
.
Following Caldevilla, the concomitant music is the one that reveals the personal
hallmark of the composer while acting as a vehicle for most of the appearances of
the leitmotivs as well as those compositions that help spectators to be located in a
concrete time-space. "Spielberg-Williams binomial is strongly evident in this section
243
Revista de Comunicación de la SEECI. (Junio, 2015).
Año XIX
(nº 37), 238-267
since the two others make reference to the use of the conforming elements, not to
their nature". Caldevilla (2000, p. 914).
Another characteristic of music in the tetralogy and, in general, in the whole work of
Spielberg is its extradiegetic nature. Although some diegetic themes are
incorporated, like the popular
Hound Dog
by Elvis Presley that reproduces the car
radio in
The Kingdom of the Crystal Skull
, the musical piece by a cabaret star with
which
The Temple of Doom
begins, the drums and canticles that are listened in the
entrails of the palace of Pankot, or the music that sounds in the snack bar where
Mutt speaks with Indiana in
The Crystal Skull
, most of music belongs to the
"imaginary pits" (Jullier, 2007; Chion, 1993).
The score of Williams, created specially for these movies, helps to magisterially
capture the essence of the saga, its emotional tone, while capturing and articulating
the visual experience of spectators. As Scheurer (1997) remarks, in his soundtracks,
Williams commits himself to artistic development, constantly looking for the
audiovisual metaphor that will allow spectators to extend the experience beyond
their expectations. A bet that will become evident in all four deliveries of Indiana
Jones.
1.2 The leitmotiv. The star element in the work of Williams
In Williams’s soundtracks, his classic formation is observed, both in his orchestrations
- that have made his style be called neosymphonism - and in the use of elements
typical of diverse composers. In his fanfares and marches - some of them are used in
Indiana Jones - it is possible to observe the influence of authors such as Gustav
Malher or Johann Strauss (Lincoln, 2010).
Nevertheless, Richard Wagner has been the composer who more times has been
related to the style of Williams. A relationship that has been based on the existing
parallelism between
The Ring of the Nibelungs
, the Wagnerian tetralogy, and the
music of Williams in
Star Wars
. Following Reginfo (2010, p. 96), some of the
common characteristics to the works of both authors are the bog orchestral format,
the use of chromatism, the frequent inclusion of
ostinatos
or
glissandos
and,
especially, the use of the leitmotiv.
Leitmotivs that Wagner defined as musical moments and basic themes. Nevertheless,
despite its apparent simplicity, the composition of these musical motifs is carefully
treated to cause a series of sensations and associations in the listener (Costantini,
2001)
Following Costantini (2001) a leitmotiv is a specific theme or motif that represents a
character, an object or a recurring action. This theme is usually used fundamentally
with a descriptive function, although other uses can be indicated such as the
substitutive – which entails maximum identification of the motif with the acting one -
or the indicative – which indicates to the spectator some key aspect for the
243
244
Revista de Comunicación de la SEECI. (Junio, 2015).
Año XIX
(nº 37), 238-267
comprehension of the story [for example, the leitmotiv of
M. The vampire of
Düsseldorf
(1931) identifies the killer].
In spite of the multiple possibilities that the leitmotiv presents to decode the image,
its use it has been insulted by Adorno and Eisler (1981) as they consider it to be a
symbolic device which disqualifies the appearance of reality of a movie and restricts
its emotional content to a mechanical process.
Williams has magisterially incorporated the Wagnerian leitmotiv into its soundtracks,
turning it into one of the elements defining its personal hallmark.
Star Wars
,
Superman
, the saga of Indiana Jones,
ET
are just some of the movies that are
remembered for the use of this type of compositions. In the work of Williams,
probably the most famous leitmotiv is that of
Jaws
, 1975. A very basic theme
composed by two notes that recur increasing their intensity and tempo.
Im age 2: Leitmotiv of Jaws.
In the work of Williams, "each key character or every key idea of the story are
endowed with a theme characterizing them and they constitute their musical
guardian angel" (Chion, 1993)
His predilection for leitmotivs has led Williams to develop his own compositional
code. As Costantini (2001) notes, the composer uses diatonic scales to represent the
hero (Indiana Jones, Superman and Star Wars), while the motifs for objects or
dangerous situations use chromatic scales (
Jaws
). He uses bright timbres to
characterize positive elements and dark instruments, in extreme tessitura, to
represent what is negative.
The same theme helps Williams to support the most diverse actions or moods of his
characters through variation of tone, intensity, orchestration and tempo. Thus, the
leitmotif is suited to each situation to describe it without departing from the melodic
curve identifying it (Caldevilla, 2000).
2. OBJECTIVES
Starting from the use of the leitmotif as a characteristic element of the style of
Williams, the main goal of this paper has been to study the use of this typology of
themes or musical motifs from a narrative perspective, in the tetralogy of Indiana
Jones.
244
244
Revista de Comunicación de la SEECI. (Junio, 2015).
Año XIX
(nº 37), 238-267
comprehension of the story [for example, the leitmotiv of
M. The vampire of
Düsseldorf
(1931) identifies the killer].
In spite of the multiple possibilities that the leitmotiv presents to decode the image,
its use it has been insulted by Adorno and Eisler (1981) as they consider it to be a
symbolic device which disqualifies the appearance of reality of a movie and restricts
its emotional content to a mechanical process.
Williams has magisterially incorporated the Wagnerian leitmotiv into its soundtracks,
turning it into one of the elements defining its personal hallmark.
Star Wars
,
Superman
, the saga of Indiana Jones,
ET
are just some of the movies that are
remembered for the use of this type of compositions. In the work of Williams,
probably the most famous leitmotiv is that of
Jaws
, 1975. A very basic theme
composed by two notes that recur increasing their intensity and tempo.
Im age 2: Leitmotiv of Jaws.
In the work of Williams, "each key character or every key idea of the story are
endowed with a theme characterizing them and they constitute their musical
guardian angel" (Chion, 1993)
His predilection for leitmotivs has led Williams to develop his own compositional
code. As Costantini (2001) notes, the composer uses diatonic scales to represent the
hero (Indiana Jones, Superman and Star Wars), while the motifs for objects or
dangerous situations use chromatic scales (
Jaws
). He uses bright timbres to
characterize positive elements and dark instruments, in extreme tessitura, to
represent what is negative.
The same theme helps Williams to support the most diverse actions or moods of his
characters through variation of tone, intensity, orchestration and tempo. Thus, the
leitmotif is suited to each situation to describe it without departing from the melodic
curve identifying it (Caldevilla, 2000).
2. OBJECTIVES
Starting from the use of the leitmotif as a characteristic element of the style of
Williams, the main goal of this paper has been to study the use of this typology of
themes or musical motifs from a narrative perspective, in the tetralogy of Indiana
Jones.
245
Revista de Comunicación de la SEECI. (Junio, 2015).
Año XIX
(nº 37), 238-267
This main objective has been broken down into two specific objectives:
define the presence and use of themes and musical motifs associated with
characters and objects in the saga of Indiana Jones.
Analyze the use of
The Raiders March
as leitmotiv of the main character.
3. METHODOLOGY
For the study of the leitmotifs in Indiana Jones, there has been an analysis of the
musical discourse and its relationship with the image in the saga, because they
together form a perceptual continuum that Chion called audiovision.
This analysis is an approach to the use of leitmotifs in the four films of the tretralogy
and to their functionality, significance and implications. An approach that presents a
fresh perspective to the study of music in movies while transcending the semiotic
analysis to focus on musical form and its reiteration.
We started by considering a leitmotif as any musical piece –a melody, a musical
fragment, harmonic progression, etc – that has more than one insertion in the course
of the film, always associated with a particular action or concrete acting (without this
association, it would be an
Idée fixe
).
This typology of themes are integrated into the musical discourse and interact with
the image, as indicated by Gertrudix Barrio and Garcia Garcia (2013) – making its
reading vectorial, so the study of leitmotifs also implies a narrative approach.
In order to carry out a systematic analysis of audiovisual discourse, various types of
views have been developed in each of the films in the saga. First, there has been a
conventional reading of the films. Later, the film was broken down into sequences to
reiterate the viewing of fragments acting as vehicles for some sort of leitmotif.
Finally, said viewing was repeated following the process that Chion (1993) calls
"concealers’ method", that is, there was double reading of each fragment hiding the
image to make "acousmatic listening '(Schaeffer, 1966) and removing the sound to
achieve silent viewing.
During the viewing process, an analysis file based on the scheme of links and
functions of leitmotifs developed by Constantini (2001) was used.
4. DISUSSION
4.1 Leitmotivs in Indiana Jones. links and functions.
4.1.1. The leitmotif of Indiana Jones
Since he first shows up in the 11
th
minute of
Raiders of the Lost Ark
(1981), when
Indiana Jones escapes from the tribe chasing him for stealing a sacred object, the
theme
Raiders March
becomes the sound mark of Indiana Jones (both of the series
245
246
Revista de Comunicación de la SEECI. (Junio, 2015).
Año XIX
(nº 37), 238-267
and the character). From this insertion, this leitmotiv is present in over sixty
sequences in the series.
This theme represents the character while – if we take as reference the tables by
Beltran Moner (1991) – his brilliant timbre, half-acute tessitura, high harmony,
regular rhythm, full orchestration and melodic phrasing refer to certain attributes of
Indiana Jones such as his courage, passion, honor, etc.
Also, the start of the leitmotiv in Indiana Jones features an interval of fourth
against the intervals of fifth that are present in other themes for heroes composed
by Williams like
Superman
and
Star Wars
. In this sense, we can consider that music
identifies a hero, but more human.
The use of this leitmotiv as a character-identifying element is endorsed in
The Last
Crusade
, where a young Indiana Jones lives his first adventure to strip mercenaries
of a relic -the Coronado Cross- that he believes should belong to the public purse.
Although there is a specific theme for this adventure, which will act as a leitmotif
for young Indy, this issue sometimes gives way to
Raiders March
to underline
courageous actions already outlining the character of an adult Indiana Jones: the
theft of the cross, his skill on the train, the flight back home.
This leitmotif is also linked to his other attributes such as the whip – which helps
young Indy to escape the lion (
The Last Crusade
) – and the hat – at the time the
chief of the mercenaries gave him his black fedora (
The Last Crusade
) when
Indiana leaves the trunk of the car at the base taken by the Russians, or after
accompanying a hat flying at the foot of Mutt (
The Kingdom of the Crystal Skull
).
Beyond identifying and characterizing the character, the variations of this theme
that can be listened throughout the four films of the saga, make it possible to make
a more specific approach to the feelings and the situation of the hero at all times.
The theme of Indiana Jones may appear outlined in the incidental music and even
conflict with it (for example, the sequence of the library in
The Last Crusade
), vary
its instruments and sound to suit the local color of music (for example, in the flight
to Cairo in
Raiders of the Lost Ark
), change the tempo to make it more alive (the
drop from the liana in
Raiders of the Lost Ark
) or slower (after leaving the car
trunk, it is recomposed in
The Kingdom of the Crystal Skull
), change its tessitura
(when Henry Jones saves his son from falling down through a crack in the ground
in
The Last Crusade
, it sounds serious and slow) or shade (the poison leads to the
emergence of another Indiana, in
The Temple of Doom
, and its music reflects it in a
minor mode).
This use is associated with descriptive function indicated by Costantini (2002) for
leitmotifs. In fact this function, describing the situation and the actions of the hero,
is the most common use of of the leitmotiv of Indiana Jones in the saga. When
Indiana Jones made an epic feat, he manages to escape his pursuers, and
undertakes [or resumes] a new adventure and, even when he is aware that his plan
has failed, the famous motif is usually listened. It is the theme of Indiana, which
246
246
Revista de Comunicación de la SEECI. (Junio, 2015).
Año XIX
(nº 37), 238-267
and the character). From this insertion, this leitmotiv is present in over sixty
sequences in the series.
This theme represents the character while – if we take as reference the tables by
Beltran Moner (1991) – his brilliant timbre, half-acute tessitura, high harmony,
regular rhythm, full orchestration and melodic phrasing refer to certain attributes of
Indiana Jones such as his courage, passion, honor, etc.
Also, the start of the leitmotiv in Indiana Jones features an interval of fourth
against the intervals of fifth that are present in other themes for heroes composed
by Williams like
Superman
and
Star Wars
. In this sense, we can consider that music
identifies a hero, but more human.
The use of this leitmotiv as a character-identifying element is endorsed in
The Last
Crusade
, where a young Indiana Jones lives his first adventure to strip mercenaries
of a relic -the Coronado Cross- that he believes should belong to the public purse.
Although there is a specific theme for this adventure, which will act as a leitmotif
for young Indy, this issue sometimes gives way to
Raiders March
to underline
courageous actions already outlining the character of an adult Indiana Jones: the
theft of the cross, his skill on the train, the flight back home.
This leitmotif is also linked to his other attributes such as the whip – which helps
young Indy to escape the lion (
The Last Crusade
) – and the hat – at the time the
chief of the mercenaries gave him his black fedora (
The Last Crusade
) when
Indiana leaves the trunk of the car at the base taken by the Russians, or after
accompanying a hat flying at the foot of Mutt (
The Kingdom of the Crystal Skull
).
Beyond identifying and characterizing the character, the variations of this theme
that can be listened throughout the four films of the saga, make it possible to make
a more specific approach to the feelings and the situation of the hero at all times.
The theme of Indiana Jones may appear outlined in the incidental music and even
conflict with it (for example, the sequence of the library in
The Last Crusade
), vary
its instruments and sound to suit the local color of music (for example, in the flight
to Cairo in
Raiders of the Lost Ark
), change the tempo to make it more alive (the
drop from the liana in
Raiders of the Lost Ark
) or slower (after leaving the car
trunk, it is recomposed in
The Kingdom of the Crystal Skull
), change its tessitura
(when Henry Jones saves his son from falling down through a crack in the ground
in
The Last Crusade
, it sounds serious and slow) or shade (the poison leads to the
emergence of another Indiana, in
The Temple of Doom
, and its music reflects it in a
minor mode).
This use is associated with descriptive function indicated by Costantini (2002) for
leitmotifs. In fact this function, describing the situation and the actions of the hero,
is the most common use of of the leitmotiv of Indiana Jones in the saga. When
Indiana Jones made an epic feat, he manages to escape his pursuers, and
undertakes [or resumes] a new adventure and, even when he is aware that his plan
has failed, the famous motif is usually listened. It is the theme of Indiana, which
247
Revista de Comunicación de la SEECI. (Junio, 2015).
Año XIX
(nº 37), 238-267
identifies him, and therefore it also accompanies him on certain actions in more
everyday environments, such as escaping through the window of his office to
escape a crowd of students (
The Last Crusade
) or when advising – with some
sarcasm – a student to leave the library and spend more doing field work (
the
Kingdom of the Crystal Skull
).
MOVIE
ACTION
FUNTION
Raiders of
the Lost Ark
Indiana Jones escapes with a vine and falls into the water. The
leitmotiv is repeated also on the trip by plane.
descriptive
Raiders of
the Lost Ark
After informing the government men on the Ark. Marcus visits him to
tell you prepare for your search.
indicative
Raiders of
the Lost Ark
Indiana mounted on a plane. Travel to Nepal.
Descriptive
Raiders of
the Lost Ark
Travel to Cairo, as with Marion, derives its leitmotif.
Descriptive
Raiders of
the Lost Ark
Set the exact location of the Ark, Indiana crosses the exploration
camp in a traditional attire.
Descriptive
Raiders of
the Lost Ark
Indiana climb the statue to get down the wall. They have some notes
every time you go on the situation until they can escape.
Descriptive
Raiders of
the Lost Ark
Indiana attacks the Nazi plane. Notes outlining their leitmotif.
Descriptive
Raiders of
the Lost Ark
Rushing to rescue Marion, which is enclosed in his plane. Some notes
every time they go into the situation that escapes you hear.
descriptive
Raiders of
the Lost Ark
Indiana pursues the truck carrying the Ark. It sounds with great
intensity. It is heard at various times during the chase and take this.
Descriptive
indicative
Raiders of
the Lost Ark
Indiana is balancing on the "cover" of the submarine. Issue with
great intensity.
Descriptive
Raiders of
the Lost Ark
Enters surprise in the submarine. Try dressing up but no use Nazi
uniform (Leitmotiv emphasizes humor of the situation).
Descriptive
Raiders of
the Lost Ark
Returns to earth as a member of the Nazi army.
descriptive
Table 1: Sequence of insertion and functions of the leitmotiv of Indiana Jones in
Raiders of the Lost Ark
Source: Authors.
MOVIE
ACTION
FUNCTION
temple of
Doom
With the arrival at the aerodrome outlined for the first time. When
about to escape the plane and taunts, their persecutors sounds
clearer.
indicative
descriptive
temple of
Doom
Jump from the plane on an inflatable raft.
descriptive
temple of
Doom
Fight night assailant as soon as its theme dominates outlined.
indicative
descriptive
temple of
Doom
The camera begins to close again. Willie saves Indiana before dying
crushed.
descriptive
temple of
Doom
After telling the child that the blood you into a nightmare
, he turns to
outline the theme of Indian.
indicative
temple of
Doom
Indiana Jones will sacrifice cap. A trick with which Indiana Jones take
the initiative to attack the thuggee
descriptive
247
248
Revista de Comunicación de la SEECI. (Junio, 2015).
Año XIX
(nº 37), 238-267
temple of
Doom
During the fight will be outlined on several occasions the issue
indicative
descriptive
temple of
Doom
After saving Willie. Indiana recovers his bags, the piedaras and their
attributes. Melçancolía sounds.
descriptive
temple of
Doom
Cap is engaged between two trolleys. The issue is outlined.
descriptive
temple of
Doom
Escaping Palace Grotto, ride the wild woods and sounds your subject.
Suddenly for, because it is two swordsmen of Maharaha. Your issue
will resonate when it appears that matures and then, when escapes
from the bridge.
indicative
descriptive
temple of
Doom
Back in the village in a quiet location receives the gratitude of the
people
descriptive
Table 2: Sequence of insertion and functions of the leitmotiv of Indiana Jones in The
Temple of Doom.
Source: Authors.
Other times when this leitmotiv is used with a descriptive function are the sequences
of action, when Indiana has to face his enemy, recover the stolen relic, release his
colleagues or escape. In these sequences, the theme of Indiana Jones is outlined on
several occasions, being integrated into a dissonant musical passage (if the
confrontation continues) or moving towards a more consonant theme if Indiana
Jones will achieve his mission. It is the case of the attack to the Nazi truck carrying
the Ark of the Covenant (
Raiders of the Lost Ark
), the release of children in the
temple of brotherhood Thuggee (
The Temple of Doom
), the confrontation with
Donovan and his allies near the temple of the Grail (
The Last Crusade
) or when he
and Mutt are attacked when going out of the cafeteria (
The Kingdom of the Crystal
Skull
).
In these cases one can also speak of an indicative function of this leitmotiv since it
not only describes the situation of the hero in the confrontation but also indicates
when Indiana Jones manages to overpower his rivals or – in the case of having the
help of his collaborators – who hits at each time.
One can also point out there is an indicative use of this leitmotiv in the last film in
the saga when, after the Russians forced him out of the trunk of a car, he manages
to dress up and put his hat on. The theme highlights the return of Indiana Jones.
MOVIE
ACTION
FUNTION
The Last
Crusade
Indiana Jones escapes hit
indicative
descriptive
The Last
Crusade
He falls on the car of Leon. When they feel there is no escape I see a
whip instantly the main, slow and solemn subject outlines.
indicative
descriptive
The Last
Crusade
After escaping thieves comes home, comes from Indy leitrrotiv.
indicative
descriptive
248
248
Revista de Comunicación de la SEECI. (Junio, 2015).
Año XIX
(nº 37), 238-267
temple of
Doom
During the fight will be outlined on several occasions the issue
indicative
descriptive
temple of
Doom
After saving Willie. Indiana recovers his bags, the piedaras and their
attributes. Melçancolía sounds.
descriptive
temple of
Doom
Cap is engaged between two trolleys. The issue is outlined.
descriptive
temple of
Doom
Escaping Palace Grotto, ride the wild woods and sounds your subject.
Suddenly for, because it is two swordsmen of Maharaha. Your issue
will resonate when it appears that matures and then, when escapes
from the bridge.
indicative
descriptive
temple of
Doom
Back in the village in a quiet location receives the gratitude of the
people
descriptive
Table 2: Sequence of insertion and functions of the leitmotiv of Indiana Jones in The
Temple of Doom.
Source: Authors.
Other times when this leitmotiv is used with a descriptive function are the sequences
of action, when Indiana has to face his enemy, recover the stolen relic, release his
colleagues or escape. In these sequences, the theme of Indiana Jones is outlined on
several occasions, being integrated into a dissonant musical passage (if the
confrontation continues) or moving towards a more consonant theme if Indiana
Jones will achieve his mission. It is the case of the attack to the Nazi truck carrying
the Ark of the Covenant (
Raiders of the Lost Ark
), the release of children in the
temple of brotherhood Thuggee (
The Temple of Doom
), the confrontation with
Donovan and his allies near the temple of the Grail (
The Last Crusade
) or when he
and Mutt are attacked when going out of the cafeteria (
The Kingdom of the Crystal
Skull
).
In these cases one can also speak of an indicative function of this leitmotiv since it
not only describes the situation of the hero in the confrontation but also indicates
when Indiana Jones manages to overpower his rivals or – in the case of having the
help of his collaborators – who hits at each time.
One can also point out there is an indicative use of this leitmotiv in the last film in
the saga when, after the Russians forced him out of the trunk of a car, he manages
to dress up and put his hat on. The theme highlights the return of Indiana Jones.
MOVIE
ACTION
FUNTION
The Last
Crusade
Indiana Jones escapes hit
indicative
descriptive
The Last
Crusade
He falls on the car of Leon. When they feel there is no escape I see a
whip instantly the main, slow and solemn subject outlines.
indicative
descriptive
The Last
Crusade
After escaping thieves comes home, comes from Indy leitrrotiv.
indicative
descriptive
249
Revista de Comunicación de la SEECI. (Junio, 2015).
Año XIX
(nº 37), 238-267
The Last
Crusade
The leader of the robbers gave him his hat. There is an ellipsis to its
present moment where Indiana Jones is fighting with gunmen from
the owner of the Cross.
Descriptive
The Last
Crusade
On campus in a class of Dr. Jones.
Descriptive
The Last
Crusade
Dr. Jones breaks into his office a hallway full of students. Already
sitting in chair, calm, take a letter from Venice-Italy.
Descriptive
The Last
Crusade
After accept the offer of Donovan to find the Grial, says goodbye this
on the airfield.
Descriptive
The Last
Crusade
Search for the tomb of the knight in the Library. Some notes that are
in conflict with the rest of the music is outlined.
Indiana and his father discussed before some Nazi soldiers. Jones
attacks by descriptive surprise and its theme is outlined.
descriptive
The Last
Crusade
Indiana and his father discussed before some Nazi soldiers. Jones
attacks by surprise and its theme is outlined.
descriptive
The Last
Crusade
Indiana and their father are able to come unfastened and to attack
the decoding room. Sound some leitmotiv notes.
indicative
descriptive
The Last
Crusade
Persecuted by the Nazis, they returned to circumvent, going away
and bike
descriptive
The Last
Crusade
Escape through the structure of the plane dirigible. They occupy the
emergency airplane.
descriptive
The Last
Crusade
Jones again be safe and Indiana is admired by the action of his
father on the beach.
descriptive
The Last
Crusade
Walter Donovan face and its allies in the vicinity of the place where
the Grail is.
indicative
descriptive
The Last
Crusade
Jones´s father saves his son of falling for the crack, sounds the
theme of Indiana Jones in grave and slowly tessitura.
Descriptive
The Last
Crusade
Father and son discuss for the use of "Junior" and they go to gallop.
Descriptive
Table 3: Sequence of insertion and functions of the leitmotiv of Indiana Jones in
'The Last Crusade'
Source: Authors
MOVIE
ACTION
FUNTION
The kingdom of
the Crystal Skull
After leaving the luggage in the car, Indiana is recomposed, he puts
his hat (we see in rings si
luetal and slow song and piano, is
gathering strength.
indicative
descriptive
The kingdom of
the Crystal Skull
In miliotar base, when the Russians forced him to search the
vessel.
Descriptive
The kingdom of
the Crystal Skull
In his confrontation with the Russians managed to escape the
ambush
Descriptive
The kingdom of
the Crystal Skull
When the car dashing against the Russian vehicle.
Descriptive
The kingdom of
Indiana comes inderme detonation Ghost Town.
Descriptive
249
250
Revista de Comunicación de la SEECI. (Junio, 2015).
Año XIX
(nº 37), 238-267
the Crystal Skull
The kingdom of
the Crystal Skull
Government agents question him and cast doubt on the validity of
Indiana
Descriptive
The kingdom of
the Crystal Skull
He makes his suitcase at home, after learning that they have
expelled from university
Descriptive
The kingdom of
the Crystal Skull
At the station when a train is welcome and leaves behind his world,
behind Indiana Jones he looks wistfully.
Descriptive
The kingdom of
the Crystal Skull
After falling of the bike Indiana regains control. And so, throughout
the fight. Similarly when you tell your students to leave the library
to do fieldwork.
indicative
descriptive
The kingdom of
the Crystal Skull
Back to Peru.
Descriptive
The kingdom of
the Crystal Skull
At the cemetery, after the fight with the robber. They are looking
out of the underground tomb where they went. The first sentence
of reason is heard.
indicative
descriptive
The kingdom of
the Crystal Skull
After opening the mummy of one of the Spanish discoverers. It
sounds very intense and slow.
Descriptive
The kingdom of
the Crystal Skull
They found the tomb of Orellana and realizes that no theft and
keep looking.
Descriptive
The kingdom of
the Crystal Skull
The Russians capture and return. On their way through the Amazon
starts again the subject.
indicative
descriptive
The kingdom of
the Crystal Skull
It is deciphering what he says, Oxley wrote.
Descriptive
The kingdom of
the Crystal Skull
In the truck where they are tied. Muttlepasa his knife and get
yourself free.
Descriptive
The kingdom of
the Crystal Skull
Torpedoed the Russian camp.
Descriptive
The kingdom of
the Crystal Skull
Escape through lianas.
Descriptive
The kingdom of
the Crystal Skull
Mutt wants to take the lead, but certainly the way. Indiana who will
then take over.
Descriptive
The kingdom of
the Crystal Skull
They are coming out of the well. It is outlined Indiana theme
Descriptive
Table 4: Sequence of insertion and functions of the leitmotiv of Indiana Jones in
'The Kingdom of the Crystal Skull'
Source: Authors.
As regards the replacing function, this use has not been found in the leitmotiv of
Indiana Jones. Although, sometimes in the movies, the leitmotif is introduced
accompanying Jones’s hat, his whip, the plane where he travels or – even – the
silhouette of the famous archaeologist, one cannot really talk about the character
being replaced with his attributes but rather about an anticipation of the entry onto
the scene (background music). For example in
The Kingdom of the Crystal Skull
,
Indiana Jones regains his legendary hat after the fight with the Russian position
that is devoured by termites. The theme started with the hat reaches its maximum
intensity at the moment the hat is already on the head of his owner.
In addition to the first part of
Raiders March
, the character of Indiana Jones is
identified with another leitmotif: that of young Indy. A leitmotiv used only in the
first sequences of
The Last Crusade
, in a flashback to the first adventure of the
famous archaeologist. This theme features a simpler and more rhythmic melody,
250
250
Revista de Comunicación de la SEECI. (Junio, 2015).
Año XIX
(nº 37), 238-267
the Crystal Skull
The kingdom of
the Crystal Skull
Government agents question him and cast doubt on the validity of
Indiana
Descriptive
The kingdom of
the Crystal Skull
He makes his suitcase at home, after learning that they have
expelled from university
Descriptive
The kingdom of
the Crystal Skull
At the station when a train is welcome and leaves behind his world,
behind Indiana Jones he looks wistfully.
Descriptive
The kingdom of
the Crystal Skull
After falling of the bike Indiana regains control. And so, throughout
the fight. Similarly when you tell your students to leave the library
to do fieldwork.
indicative
descriptive
The kingdom of
the Crystal Skull
Back to Peru.
Descriptive
The kingdom of
the Crystal Skull
At the cemetery, after the fight with the robber. They are looking
out o
f the underground tomb where they went. The first sentence
of reason is heard.
indicative
descriptive
The kingdom of
the Crystal Skull
After opening the mummy of one of the Spanish discoverers. It
sounds very intense and slow.
Descriptive
The kingdom of
the Crystal Skull
They found the tomb of Orellana and realizes that no theft and
keep looking.
Descriptive
The kingdom of
the Crystal Skull
The Russians capture and return. On their way through the Amazon
starts again the subject.
indicative
descriptive
The kingdom of
the Crystal Skull
It is deciphering what he says, Oxley wrote.
Descriptive
The kingdom of
the Crystal Skull
In the truck where they are tied. Muttlepasa his knife and get
yourself free.
Descriptive
The kingdom of
the Crystal Skull
Torpedoed the Russian camp.
Descriptive
The kingdom of
the Crystal Skull
Escape through lianas.
Descriptive
The kingdom of
the Crystal Skull
Mutt wants to take the lead, but certainly the way. Indiana who will
then take over.
Descriptive
The kingdom of
the Crystal Skull
They are coming out of the well. It is outlined Indiana theme
Descriptive
Table 4: Sequence of insertion and functions of the leitmotiv of Indiana Jones in
'The Kingdom of the Crystal Skull'
Source: Authors.
As regards the replacing function, this use has not been found in the leitmotiv of
Indiana Jones. Although, sometimes in the movies, the leitmotif is introduced
accompanying Jones’s hat, his whip, the plane where he travels or – even – the
silhouette of the famous archaeologist, one cannot really talk about the character
being replaced with his attributes but rather about an anticipation of the entry onto
the scene (background music). For example in
The Kingdom of the Crystal Skull
,
Indiana Jones regains his legendary hat after the fight with the Russian position
that is devoured by termites. The theme started with the hat reaches its maximum
intensity at the moment the hat is already on the head of his owner.
In addition to the first part of
Raiders March
, the character of Indiana Jones is
identified with another leitmotif: that of young Indy. A leitmotiv used only in the
first sequences of
The Last Crusade
, in a flashback to the first adventure of the
famous archaeologist. This theme features a simpler and more rhythmic melody,
251
Revista de Comunicación de la SEECI. (Junio, 2015).
Año XIX
(nº 37), 238-267
instruments in a more acute tessitura and its performance is faster because it
identifies a young, agile and lively character.
MOVIE
ACTION
FUNCTION
The Last Crusade
Get away from the cave where the
thieves were
Descriptive
The Last Crusade
Indy horse escapes and is pursued by
various vehicles. The issue is to take
advantage always hear
Descriptive
The Last Crusade
Get rid of the thief who had trapped and
continues to break
Descriptive
The Last Crusade
Thieves help you get out of the car and
face Indy
Descriptive
The Last Crusade
Indy keeps running and gets home
resulting in the leitmotif of Indiana Jones
Descriptive
Table
5: Sequence of insertion and functions of the leitmotiv of young Indiana
Jones.
Source: Authors
The use of this theme is mainly descriptive, underlining moments as the theft and
escape from the cave, the fight on the train and his triumphant arrival home. At
times, this leitmotiv gives way to adult Indiana, highlighting the actions outlining
the qualities of the archaeologist.
Also, in some of these sequences, an indicative function in line with the leitmotif of
Indiana Jones can be pointed out. During the chase, when Indy is ahead of the
thieves who pursue him, his leitmotif stands out from the background composition
to disappear at those moments in which the thieves reach him again.
4.1.2. Musical themes of relics
Being a series of adventures, each film poses a new challenge for the hero. This
challenge is linked to a relic of great value -the Ark of the Covenant, the Holy Grail,
the cross of Coronado- a totemic object of an Indian tribe -the stone of Shankara—
or Maya remains -the Crystal Skull. Their relevance to the plot of the movie makes
these objects become characters that, while not on the screen until the very end of
the film, their presence is constant since the adventure arises.
Each of these objects is associated with a musical theme that accompanies the key
events in their achievement and promotes this constant presence. You can even
determine an indicative role in the introduction of the themes: listening to the
theme advances the subject of adventure.
In the first film,
Raiders of the Lost Ark
, this object is the Ark of the Covenant. Its
leitmotiv -whose syncopated composition, melodic line and instrumentation, with a
251
252
Revista de Comunicación de la SEECI. (Junio, 2015).
Año XIX
(nº 37), 238-267
background of violins and a vibrato effect, refers to the mysterious and the divine-
is heard since the first time reference to the ark is made during an interview with
Indiana Jones and two agents of the government.
Indiana shows them an ancient engraving of the ark and the musical theme sounds
powerful, producing an identification to be exploited throughout the film as well as
other installments of the saga.
MOVIE
WHAT'S GOING ON
FUNCTION
Raiders of the
Lost Ark
Indiana Jones teaches a taped to government agents
Descriptive-
indicative
Raiders of the
Lost Ark
Indiana informs Marcus that party to seek the ark.
After discussing Marion, retake the relevance of
adventure
Descriptive
Raiders of the
Lost Ark
Marion shows her locket (head cane)
Descriptive-
indicative
Raiders of the
Lost Ark
After talking to the old man keeps Sallah Indiana
Jones eat a poisoned date
Descriptive
Raiders of the
Lost Ark
In the chamber Indiana Jones discovers an
inscription that enables you to find where the ark is
located
Descriptive
Raiders of the
Lost Ark
Loose Marion at the store, says she knows where the
ark is
Descriptive
Raiders of the
Lost Ark
Inspect the area and located exactly where the ark is
Descriptive
Raiders of the
Lost Ark
They manage to get the ark of the well of souls
Descriptive
Raiders of the
Lost Ark
Carry the ark through an intricate way
Descriptive
Raiders of the
Lost Ark
They open the ark. The theme sounds powerful and
triumphant, full orchestration
Descriptive
Raiders of the
Lost Ark
Already in American hands, carrying the ark for a
secret high-security zone
Indicative
Raiders of the
Lost Ark
In the catacombs are engraved on a wall of the ark
Indicative
Raiders of the
Lost Ark
In the military base box breaks and briefly displays
its contents
Indicative
Table 6: Sequence of insertion and functions of the leitmotiv of the ark.
Source:
Authors
Whenever Indiana goes one step further in his quest for the ark, you can hear the
leitmotiv of this object: Marcus tells him about his departure, Marion shows his
medallion, discovers where the ark lies, they manage to get the ark out of the well
of souls, etc. In this line, the leitmotif also outlines some actions of the Nazis
related to the ark, such as its transportation or its opening.
The leitmotif of the ark will be taken up again in
The Last Crusade
, at the time in
which Indiana and his companion find a relief on the wall in the catacombs of the
library, and in
The Kingdom of the Crystal Skull
when seeking the body of the alien
in the warehouse of classified objects, a wooden box falls and breaks. In both cases
252
252
Revista de Comunicación de la SEECI. (Junio, 2015).
Año XIX
(nº 37), 238-267
background of violins and a vibrato effect, refers to the mysterious and the divine-
is heard since the first time reference to the ark is made during an interview with
Indiana Jones and two agents of the government.
Indiana shows them an ancient engraving of the ark and the musical theme sounds
powerful, producing an identification to be exploited throughout the film as well as
other installments of the saga.
MOVIE
WHAT'S GOING ON
FUNCTION
Raiders of the
Lost Ark
Indiana Jones teaches a taped to government agents
Descriptive-
indicative
Raiders of the
Lost Ark
Indiana informs Marcus that party to seek the ark.
After discussing Marion, retake the relevance of
adventure
Descriptive
Raiders of the
Lost Ark
Marion shows her locket (head cane)
Descriptive-
indicative
Raiders of the
Lost Ark
After talking to the old man keeps Sallah Indiana
Jones eat a poisoned date
Descriptive
Raiders of the
Lost Ark
In the chamber Indiana Jones discovers an
inscription that enables you to find where the ark is
located
Descriptive
Raiders of the
Lost Ark
Loose Marion at the store, says she knows where the
ark is
Descriptive
Raiders of the
Lost Ark
Inspect the area and located exactly where the ark is
Descriptive
Raiders of the
Lost Ark
They manage to get the ark of the well of souls
Descriptive
Raiders of the
Lost Ark
Carry the ark through an intricate way
Descriptive
Raiders of the
Lost Ark
They open the ark. The theme sounds powerful and
triumphant, full orchestration
Descriptive
Raiders of the
Lost Ark
Already in American hands, carrying the ark for a
secret high-security zone
Indicative
Raiders of the
Lost Ark
In the catacombs are engraved on a wall of the ark
Indicative
Raiders of the
Lost Ark
In the military base box breaks and briefly displays
its contents
Indicative
Table 6: Sequence of insertion and functions of the leitmotiv of the ark.
Source:
Authors
Whenever Indiana goes one step further in his quest for the ark, you can hear the
leitmotiv of this object: Marcus tells him about his departure, Marion shows his
medallion, discovers where the ark lies, they manage to get the ark out of the well
of souls, etc. In this line, the leitmotif also outlines some actions of the Nazis
related to the ark, such as its transportation or its opening.
The leitmotif of the ark will be taken up again in
The Last Crusade
, at the time in
which Indiana and his companion find a relief on the wall in the catacombs of the
library, and in
The Kingdom of the Crystal Skull
when seeking the body of the alien
in the warehouse of classified objects, a wooden box falls and breaks. In both cases
253
Revista de Comunicación de la SEECI. (Junio, 2015).
Año XIX
(nº 37), 238-267
the introduction of the leitmotiv has an indicative function: reference to (in the first
case) and presence of (in the second) the ark. Also, the use of this leitmotiv
connects these films with the first one in a wink to the fans of the saga.
The ark is the only object whose presence is developed through various films of the
tetralogy. The remaining relics are limited to appearing in one film –the same as
their leitmotiv.
In
The Temple of Doom
, Indiana Jones takes on the task of recovering the
Shankara stone. The first time the leitmotiv of this stone is heard is when they
make reference to its existence or, more precisely, to its being missing. At that
moment sounds the theme, the rhythm, composition and instrumentation of which
reminds us of a march. Besides the stone, the Maharaha has dispossessed the
people of children, so the use of this theme is extensible also to them.
The function of the leitmotiv of the Shankara stone is primarily descriptive, although
its introduction with the arrival of the child who escaped to the village and during
the interaction of Indiana with the slave-child in the cage refers to a substitute
function. A function that disappears in the following sequences because there has
been an identification of the children of the village with its totemic stone.
This identification is based on fact that the magic stone and the village children
share the same destiny. They both have been stolen, they are used for sacrifices in
the temple and are rescued by Indiana Jones. At a time when Plug is captured by
the Thuggee the leitmotiv of the stone is intertwined with that of the character, as
it shares the ordeal with the village children.
In
The Last Crusade
, two themes linked to historical relics are presented: the cross
of Cortez and the Grail. The cross is linked exclusively to the first part of the film,
specifically to the two moments when this historic object crosses the path of
Indiana Jones. The leitmotiv -of Spanish inspiration to emphasize its origin- is
always used with a descriptive function. When accompanying the adventure of
adult Indiana Jones, an indicative function of the theme can be highlighted too:
during the fight with the assassins, its insertion with variations points at who has
the cross.
MOVIE
ACTION
FUNCTION
The Last
Crusade
The thieves opened a box. Music sounds while the
cross removed
Descriptive
The Last
Crusade
Indiana advantage from a neglect of child thieves to
catch the cross
Descriptive
The Last
Crusade
In the struggle over the train, Indy you drop the cross
in the carriage of rhinos. Some notes are included in
minor mode
Descriptive
The Last
Crusade
Indy manages aorralar the lion sees the cross and
catches
Descriptive
The Last
Crusade
He enters the office of his father with the cross in his
hand
Descriptive
The Last
Sheriff comes to your house to ask the cross. Knows
Descriptive
253
254
Revista de Comunicación de la SEECI. (Junio, 2015).
Año XIX
(nº 37), 238-267
Crusade
its owner
The Last
Crusade
The owner of the cross to take back pocket Indiana, as
an adult. Continues the fight as the cross goes from
one hand to another
Descriptive-
indicative
Table 7: Sequence of insertion and functions of the leitmotiv of the cross of Cortez.
Source:
Authors.
Cortés cross is used as a contextualization of the character, his attributes, his
values and his relationship with his father. The Grail, meanwhile, is the central
object of the adventure as can be understood from the title.
Its leitmotiv is based on a melody of brass of medieval inspiration, in medium
texture, with a calm tempo -on a sharper, faster and less intensive base- while
providing certain grandeur to the scene.
The presentation of the issue occurs when Donovan shows Indiana Jones the
inscription telling the whereabouts of the Grail. This presentation, with the absent
object, similar to
The Ark of the Covenant
, will show the viewer that the search for
the grail will be the task of the adventure.
From this first introduction, the theme will sound with a descriptive function, at all
those times when an advance or a new event in connection with the search for the
grail occurs: travel, search for the tomb, meeting with the brotherhood of cruciform
sword, awareness of the importance of the grail, conflict with the Germans in the
surrounding area, the need for the cup to save his father, riddles or the cure of
Henry Jones.
In addition to the presentation of the adventure, there is a second insertion of the
leitmotiv, with an indicative function at the end of the film, when Indiana Jones
selects the grail from dozens of cups that are in the chamber. The confirmation that
this is the right choice is underlined with the inclusion of the theme.
MOVIE
ACTION
FUNCTION
The Last
Crusade
At home Mr Donovan who shows him a stele marks the
place of the Holy Grail
Descriptive-
indicative
The Last
Crusade
In his father's house everything is returned. Opens the
letter of Venice-Italy and discovers the diary of his
father
Replacement
The Last
Crusade
On the plane, while referring to his father's diary
Substitute-
descriptive
The Last
Crusade
In search of the library
Descriptive
The Last
Crusade
In the catacombs when they find and open the
sarcophagus crusader
Descriptive
The Last
Crusade
Kazim tells him about the secret of the Grail and the
brotherhood of the cruciform sword. It also reveals the
whereabouts of his father
Descriptive
The Last
Crusade
After facing the Nazis to save Elsa Schneider, it betrays
and steals the pocket diary
Descriptive
254
254
Revista de Comunicación de la SEECI. (Junio, 2015).
Año XIX
(nº 37), 238-267
Crusade
its owner
The Last
Crusade
The owner of the cross to take back pocket Indiana, as
an adult. Continues the fight as the cross goes from
one hand to another
Descriptive-
indicative
Table 7: Sequence of insertion and functions of the leitmotiv of the cross of Cortez.
Source:
Authors.
Cortés cross is used as a contextualization of the character, his attributes, his
values and his relationship with his father. The Grail, meanwhile, is the central
object of the adventure as can be understood from the title.
Its leitmotiv is based on a melody of brass of medieval inspiration, in medium
texture, with a calm tempo -on a sharper, faster and less intensive base- while
providing certain grandeur to the scene.
The presentation of the issue occurs when Donovan shows Indiana Jones the
inscription telling the whereabouts of the Grail. This presentation, with the absent
object, similar to
The Ark of the Covenant
, will show the viewer that the search for
the grail will be the task of the adventure.
From this first introduction, the theme will sound with a descriptive function, at all
those times when an advance or a new event in connection with the search for the
grail occurs: travel, search for the tomb, meeting with the brotherhood of cruciform
sword, awareness of the importance of the grail, conflict with the Germans in the
surrounding area, the need for the cup to save his father, riddles or the cure of
Henry Jones.
In addition to the presentation of the adventure, there is a second insertion of the
leitmotiv, with an indicative function at the end of the film, when Indiana Jones
selects the grail from dozens of cups that are in the chamber. The confirmation that
this is the right choice is underlined with the inclusion of the theme.
MOVIE
ACTION
FUNCTION
The Last
Crusade
At home Mr Donovan who shows him a stele marks the
place of the Holy Grail
Descriptive-
indicative
The Last
Crusade
In his father's house everything is returned. Opens the
letter of Venice-Italy and discovers the diary of his
father
Replacement
The Last
Crusade
On the plane, while referring to his father's diary
Substitute-
descriptive
The Last
Crusade
In search of the library
Descriptive
The Last
Crusade
In the catacombs when they find and open the
sarcophagus crusader
Descriptive
The Last
Crusade
Kazim tells him about the secret of the Grail and the
brotherhood of the cruciform sword. It also reveals the
whereabouts of his father
Descriptive
The Last
Crusade
After facing the Nazis to save Elsa Schneider, it betrays
and steals the pocket diary
Descriptive
255
Revista de Comunicación de la SEECI. (Junio, 2015).
Año XIX
(nº 37), 238-267
The Last
Crusade
Indiana's father makes him understand the importance
of the grail for humanity
Descriptive
The Last
Crusade
After retrieving the diary of his father in Berlin again
start looking for the grail. Father and son catching a
zeppelin
Descriptive
The Last
Crusade
Walter watches in the distance the path taken
Descriptive
The Last
Crusade
Walter says the only thing that can save her father is
the healing power of the Grail
Descriptive
The Last
Crusade
Indiana Jones prepares and passes the puzzles to reach
the grail
Descriptive
The Last
Crusade
Indiana selects a cup and drink from it to see if it is the
grail
Indicative
The Last
Crusade
Indiana heal his father with the grail
Descriptive
The Last
Crusade
Jones's father sees the crusader who are fired
Replacement
The Last
Crusade
Leaving the space where the grail is
Descriptive
Table 8: Sequence of insertion and functions of the leitmotiv of the Grail. Source:
Authors.
In this case, there are also two uses of the leitmotiv with a substitute function.
Henry Jones's Diary, in which he recounts his lifetime looking for the cup, is
accompanied by the music of the Grail to the point that a union between the two
elements is established and repeated on several occasions. Moreover, when Henry
Jones says goodbye to the medieval knight, listening to the theme involves a
substitutive function: he is saying goodbye to the Grail.
Finally, in
The Kingdom of the Crystal Skull
, the object that encourages the search
is precisely the Crystal Skull. This item is linked to a simple leitmotiv, three notes
that are repeated accompanied by some dissonance, they outline the alien nature
of the skull.
MOVIE
ACTION
FUNCTION
The kingdom
of the Crystal
Skull
They found the container and inside there is
something like a mummy. Irina tear coverage to the
astonishment of all.
Descriptive-
indicative
The kingdom
of the Crystal
Skull
Find a crystal skull, but is not looking.
Descriptive
The kingdom
of the Crystal
Skull
Indiana communicates with the crystal skull.
Descriptive
The kingdom
of the Crystal
Skull
Within the cascade, the treasure trove, Indiana takes
the skull to place it in a print that lets you open a door.
Descriptive
The kingdom
of the Crystal
Skull
Now in its skeleton skull still emitting sound.
Descriptive
255
256
Revista de Comunicación de la SEECI. (Junio, 2015).
Año XIX
(nº 37), 238-267
Table 9: Sequence of insertion and functions of the leitmotiv of the Crystal Skull.
Source:
Authors.
It is the theme with fewer insertions, each with a descriptive function related to
search and proximity to the end of the adventure.
As was the case with the leitmotiv of Indiana Jones, the themes related to objects
not always have the same shape, but they vary instead in tempo, tonality, tessitura
or orchestration according to the narrative needs of each moment.
4.1.3. Leitmotivs of lovers, friends and family
Similarly to relics, also some of the characters who have an important role in the
saga of Indiana Jones have their own theme. For the analysis of the leitmotivs of
the saga, a difference has been made between those characters that have a close
relationship with Jones, which will be reflected in their collaboration with the hero,
and his main antagonists.
Among the leitmotivs of next characters are remarkable compositions accompany
the love story of the saga and to be identified with the two protagonists of these
affaires: Marion and Willie.
It is representative that the other woman with whom Indiana Jones establishes an
intimate relationship, Elsa Schneider (
The Last Crusade
), lacks specific musical
accompaniment. An issue that, while seeming strange at first, is resolved when we
see the betrayal of the archaeologist. It is not a normal affair and so it is underlined
by the absence of music.
Marion stars in the first love story in
Raiders of the Lost Ark
; however, this leitmotiv
is not introduced in her first appearance on screen but when her name is
mentioned by Indiana in a conversation with Marcus. This introduction -similar to
the leitmotiv of the objects- indicates that Marion will have an important role in the
adventure, a matter to be endorsed when the theme of the young woman is
intertwined with the ark in the same conversation.
The leitmotiv of Marion is the second part of
Raiders March
, a melody that develops
in middle tessitura, with a simple orchestration -compared with the triumphant
symphony of part of the first part of the march- light-fly timbre and rhythm that will
have a bearing on the intimate and evocative nature of the topic.
MOVIE
ACTION
FUNCTION
Raiders of the
Lost Ark
When Indiana is preparing to go to find the ark, ask
Marcus for Marion. Leitmotif linking ark.
Descriptive-
indicative
Raiders of the
Lost Ark
Travel to Cairo, derived from the leitmotiv of Indiana
Jones.
Descriptive
Raiders of the
Lost Ark
Marion decides to keep the monkey.
Descriptive
256
256
Revista de Comunicación de la SEECI. (Junio, 2015).
Año XIX
(nº 37), 238-267
Table 9: Sequence of insertion and functions of the leitmotiv of the Crystal Skull.
Source:
Authors.
It is the theme with fewer insertions, each with a descriptive function related to
search and proximity to the end of the adventure.
As was the case with the leitmotiv of Indiana Jones, the themes related to objects
not always have the same shape, but they vary instead in tempo, tonality, tessitura
or orchestration according to the narrative needs of each moment.
4.1.3. Leitmotivs of lovers, friends and family
Similarly to relics, also some of the characters who have an important role in the
saga of Indiana Jones have their own theme. For the analysis of the leitmotivs of
the saga, a difference has been made between those characters that have a close
relationship with Jones, which will be reflected in their collaboration with the hero,
and his main antagonists.
Among the leitmotivs of next characters are remarkable compositions accompany
the love story of the saga and to be identified with the two protagonists of these
affaires: Marion and Willie.
It is representative that the other woman with whom Indiana Jones establishes an
intimate relationship, Elsa Schneider (
The Last Crusade
), lacks specific musical
accompaniment. An issue that, while seeming strange at first, is resolved when we
see the betrayal of the archaeologist. It is not a normal affair and so it is underlined
by the absence of music.
Marion stars in the first love story in
Raiders of the Lost Ark
; however, this leitmotiv
is not introduced in her first appearance on screen but when her name is
mentioned by Indiana in a conversation with Marcus. This introduction -similar to
the leitmotiv of the objects- indicates that Marion will have an important role in the
adventure, a matter to be endorsed when the theme of the young woman is
intertwined with the ark in the same conversation.
The leitmotiv of Marion is the second part of
Raiders March
, a melody that develops
in middle tessitura, with a simple orchestration -compared with the triumphant
symphony of part of the first part of the march- light-fly timbre and rhythm that will
have a bearing on the intimate and evocative nature of the topic.
MOVIE
ACTION
FUNCTION
Raiders of the
Lost Ark
When Indiana is preparing to go to find the ark, ask
Marcus for Marion. Leitmotif linking ark.
Descriptive-
indicative
Raiders of the
Lost Ark
Travel to Cairo, derived from the leitmotiv of Indiana
Jones.
Descriptive
Raiders of the
Lost Ark
Marion decides to keep the monkey.
Descriptive
257
Revista de Comunicación de la SEECI. (Junio, 2015).
Año XIX
(nº 37), 238-267
Raiders of the
Lost Ark
Indiana looks like the truck which travels Marion
explodes. The music becomes more tragic.
Descriptive
Raiders of the
Lost Ark
Marion Indiana located in the store and kisses
Descriptive
Raiders of the
Lost Ark
Marion dresses in the store with Belloq. Its leitmotiv
is outlined.
Descriptive
Raiders of the
Lost Ark
Indiana Marion seduces the cabin. He falls asleep.
Descriptive
Raiders of the
Lost Ark
They hug after all the journey, once the shock wave
caused by the ark completed. The leitmotiv varies
from the ark.
Descriptive-
indicative
Raiders of the
Lost Ark
Indiana and Marion are on the stairs. Invites you to a
drink.
Indicative
The kingdom
of the Crystal
Skull
Marion Indiana declares.
Descriptive
The kingdom
of the Crystal
Skull
She joins Indiana when he takes control of the car.
Descriptive
The kingdom
of the Crystal
Skull
When are now all safe, the issue of Marion outlined.
Descriptive-
indicative
The kingdom
of the Crystal
Skull
Marion and Indiana marry.
Descriptive
Table 10: Sequence of insertion and functions of the leitmotiv of Marion. Source:
Authors.
The use of this composition is related to a descriptive function: playing at the times
when Indiana-Marion relationship resumes but also when she takes on an active
roled like in the sequence at the Belloq’s store. The leitmotiv is outlined when
Marion stops assuming the role of captive and tries to seduce the archaeologist in
order to be free.
Using this theme, following the opening of the ark, can also respond to an
indicative function indicating that Jones and Marion are safe. A use that is more
evident at the end of the film, when both characters meet on the stairs. Marion’s
invitation with the musical theme background indicates that the relationship
between the two characters continues.
Indeed, this affair is present again in the last movie (
The Kingdom of the Crystal
Skull
) and with it its leitmotiv. In this film the use of theme of Marion is mainly
descriptive, adding an indicative function when, after the adventure of the skull,
they are finally safe. In this case, the leitmotiv is no longer associated only with
Marion and her relationship with Indiana, but it extends to Mutt and becomes a
family theme (as will be reflected later in the wedding).
In
The Temple of Doom
, the cabaret star Willie Scott is involved in the adventure of
Indiana Jones and becomes the star of the romantic plot of the film. The
introduction of this theme takes place during the fight in the club, where the
257
258
Revista de Comunicación de la SEECI. (Junio, 2015).
Año XIX
(nº 37), 238-267
protagonist finds the antidote that Indiana needs and keeps it. This gesture,
accompanied by a musical theme of acute tessitura and fast pace not only describes
the situation but indicates the relevance of the young woman in the new adventure
of Jones.
MOVIE
ACTION
FUNCTION
Temple of
Doom
In the fight at the club, Willie takes over the antidote
to Indiana.
Descriptive-
indicative
Temple of
Doom
On the plane, Indiana theme gives way to the
subject of Willie.
Descriptive
Temple of
Doom
When you fall off the cliff on the raft to the river,
continue dreaming at various times during the bumpy
ride on the river.
Descriptive
Temple of
Doom
Difficulty riding the elephant.
Descriptive
Temple of
Doom
Willie fragrance check the elephant.
Descriptive
Temple of
Doom
Willi Indiana speaks to his grandfather, and poor
presdigitador
Descriptive
Temple of
Doom
Indiana is Willie's room to bring food. After many
suggestions, they kiss.
Descriptive
Temple of
Doom
Willie enters the corridor of the palace to help
Indiana Jones. Sound few bars of his subject.
Descriptive
Temple of
Doom
Indiana decides to go down to the stones of Shakara.
Willie kisses.
Descriptive
Temple of
Doom
While Indiana Jones tries to rescue Willie.
Descriptive
Temple of
Doom
Indiana rescues Willie, she slaps him to kiss later.
Descriptive
Temple of
Doom
Willie gets in the corf
Descriptive
Temple of
Doom
Willie punches to their persecutors. Its subject is
outlined.
Descriptive-
indicative
Temple of
Doom
The wizard is about Willie and she tries to launch into
space.
Descriptive-
indicative
Temple of
Doom
They talk about the fate of the stone and the end of
the adventures together. Discussed. They kiss.
Descriptive-
indicative
Table 11: Sequence of insertion and functions of the leitmotiv of Willie.
Source:
Authors.
As was the case with the leitmotiv of Marion, Willie’s theme is mainly used with a
descriptive function of the situation of the young woman and her relationship with
Indiana. Said composition underscores the vicissitudes of Willie in the adventure:
the fall in challenge of entering the passage, etc. as well as her progress in her
relationship with Indiana: she speaks of her grandfather, seduces him in the room
or her fear for his life in the Thuggee Temple.the river, her problems with the
elephant, her doubts about the stone, the
Willie also takes on an active role in the adventure. She is not only the victim, but
she defends from her attackers and even saves Indiana. At those moments, her
258
258
Revista de Comunicación de la SEECI. (Junio, 2015).
Año XIX
(nº 37), 238-267
protagonist finds the antidote that Indiana needs and keeps it. This gesture,
accompanied by a musical theme of acute tessitura and fast pace not only describes
the situation but indicates the relevance of the young woman in the new adventure
of Jones.
MOVIE
ACTION
FUNCTION
Temple of
Doom
In the fight at the club, Willie takes over the antidote
to Indiana.
Descriptive-
indicative
Temple of
Doom
On the plane, Indiana theme gives way to the
subject of Willie.
Descriptive
Temple of
Doom
When you fall off the cliff on the raft to the river,
continue dreaming at various times during the bumpy
ride on the river.
Descriptive
Temple of
Doom
Difficulty riding the elephant.
Descriptive
Temple of
Doom
Willie fragrance check the elephant.
Descriptive
Temple of
Doom
Willi Indiana speaks to his grandfather, and poor
presdigitador
Descriptive
Temple of
Doom
Indiana is Willie's room to bring food. After many
suggestions, they kiss.
Descriptive
Temple of
Doom
Willie enters the corridor of the palace to help
Indiana Jones. Sound few bars of his subject.
Descriptive
Temple of
Doom
Indiana decides to go down to the stones of Shakara.
Willie kisses.
Descriptive
Temple of
Doom
While Indiana Jones tries to rescue Willie.
Descriptive
Temple of
Doom
Indiana rescues Willie, she slaps him to kiss later.
Descriptive
Temple of
Doom
Willie gets in the corf
Descriptive
Temple of
Doom
Willie punches to their persecutors. Its subject is
outlined.
Descriptive-
indicative
Temple of
Doom
The wizard is about Willie and she tries to launch into
space.
Descriptive-
indicative
Temple of
Doom
They talk about the fate of the stone and the end of
the adventures together. Discussed. They kiss.
Descriptive-
indicative
Table 11: Sequence of insertion and functions of the leitmotiv of Willie.
Source:
Authors.
As was the case with the leitmotiv of Marion, Willie’s theme is mainly used with a
descriptive function of the situation of the young woman and her relationship with
Indiana. Said composition underscores the vicissitudes of Willie in the adventure:
the fall in challenge of entering the passage, etc. as well as her progress in her
relationship with Indiana: she speaks of her grandfather, seduces him in the room
or her fear for his life in the Thuggee Temple.the river, her problems with the
elephant, her doubts about the stone, the
Willie also takes on an active role in the adventure. She is not only the victim, but
she defends from her attackers and even saves Indiana. At those moments, her
259
Revista de Comunicación de la SEECI. (Junio, 2015).
Año XIX
(nº 37), 238-267
leitmotiv is used with a descriptive-indicative function as it marks her advantage
over her persecutors or her attempt to get rid of the wizard. This usage is similar to
the leitmotiv of Indiana Jones.
In the final sequence, the inclusion of the theme of Willie underlines the continuity
of her complicated relationship with Indiana (quarrel-kiss-the leitmotif sounds). This
musical motif gives way to that of Plug, highlighting the three-way relationship that
is established in this film, which is appealed at various times of the story. For
example, when they set off for Pankot Palace, the image shows the relationship of
each of the characters with the elephant carrying them. Each image will be
associated with the leitmotiv of each character.
Plug is child who is a friend of Jones and accompanies him in his adventure in
The
Temple of Doom
. His role in the story will be evident from his first appearance, in
which the child helps Indiana escape from the club while a very agile musical theme
is played, half tessitura, with a sharp percussive rhythm with oriental sonority.
This topic will identify the child -in montage sequences where the three
protagonists of the adventure are shown- his relationship with Indiana Jones, as
well as those moments when Plug plays an active role. An example of this is the
moment when Plug tries to help Jones in his fight with the Thugee warrior, or in his
intervention to save Willie. In both cases, his theme issue stands above the
dissonant composition accompanying the action.
MOVIE
ACTION
FUNCTION
Temple of Doom
It Fall in the car driving cap.
Descriptive
Temple of Doom
Esquinaso Tapon is able to give
their persecutors
Descriptive-indicative
Temple of Doom
Cap is prepared to march on the
back of a elelfante.
Descriptive
Temple of Doom
They go wing palace to look for the
children. The theme sounds slow
and expressive.
Descriptive
Temple of Doom
Indiana capture, imprison him
Willie.Tapón cap and hugs him.
Descriptive
Temple of Doom
Escape Tapon the mine after
rommper chains.
Descriptive
Temple of Doom
Tapon runs between children of the
mine tried to escape. Pursue him,
get rid of your persecusor, under
the watchful miradad children and
re-outlining the theme of stone.
Descriptive-indicative
Temple of Doom
Tapon Indiana tries to help in his
fight with the Mole.
Descriptive
Temple of Doom
The attacks Maharaha Jones
through a haunted doll. Tapon goes
for him.
Descriptive-indicative
Temple of Doom
Indiana issues occur and Tapon, as
well as their participation in the
Descriptive-indicative
259
260
Revista de Comunicación de la SEECI. (Junio, 2015).
Año XIX
(nº 37), 238-267
fight.
Temple of Doom
Again the child has to intervene to
save Willie.
Descriptive
Temple of Doom
When Indianale scolds for wasting
time.Tapon salutes. The Maharaha
tells you how to leave the palace.
Descriptive
Temple of Doom
Tapon this across the bridge.
Descriptive
Table 12: Sequence of insertion and functions of the leitmotiv of Plug.
Source:
Authors.
The function of this leitmotiv is primarily descriptive, although there is an indicative
role during the initial persecution or the fights to mark when Plug takes the
initiative.
In
The Last Crusade
, Indiana Jones share his adventure with his father, who will
have his own musical theme. The leitmotiv of Henry Jones has a clear melodic line
in half-acute tessitura, with an accompaniment of metals, and full orchestration that
gives solemnity to a character whose life experience is reflected in a slower rhythm
than that for other characters.
MOVIE
ACTION
FUNTION
The Last
Crusade
Indiana reaches the castle where he is trapped in a castle. Le
account progress made in the investigation
Descriptive
The Last
Crusade
When Indiana and his father are transported by the Nazis to
where this Wlater Donovan
Descriptive
The Last
Crusade
Henry Jones thinks his son has fallen in Lamante precipicioy
loss. When he returns to look back and hugs his subject.
Descriptive-
indicative
The Last
Crusade
Wlater recaptures Jones in the place where the Grail is. After a
discussion shoots Henry Jones.
Descriptive
The Last
Crusade
It is with this crusader saving the grail.
Descriptive
The Last
Crusade
Indiana lamented personal losses he has lived in recent years.
On the table is a picture of his father.
indicative
Table 13: Sequence of insertion and functions of the leitmotiv of Henry Jones.
Source:
Authors
The theme of Henry Jones is mainly used with a descriptive function of the
relationship with his son, of the moments at which both of them face Walter
Donovan and his Nazi allies, or his relationship with the Grail (as when he becomes
aware of the existence of the crusader).
In addition to the descriptive function, there is an indicative use of the theme as
Henry Jones laments on the edge of the cliff where he believes his son died. When
Indiana appears, the inclusion of the theme, slow and melancholy, indicates that
this relationship between father and son is resumed.
The theme of Henry Jones will be used again with an indicative function in
The
Kingdom of the Crystal Skull
as Indiana talks with the rector of the University of his
260
260
Revista de Comunicación de la SEECI. (Junio, 2015).
Año XIX
(nº 37), 238-267
fight.
Temple of Doom
Again the child has to intervene to
save Willie.
Descriptive
Temple of Doom
When Indianale scolds for wasting
time.Tapon salutes. The Maharaha
tells you how to leave the palace.
Descriptive
Temple of Doom
Tapon this across the bridge.
Descriptive
Table 12: Sequence of insertion and functions of the leitmotiv of Plug.
Source:
Authors.
The function of this leitmotiv is primarily descriptive, although there is an indicative
role during the initial persecution or the fights to mark when Plug takes the
initiative.
In
The Last Crusade
, Indiana Jones share his adventure with his father, who will
have his own musical theme. The leitmotiv of Henry Jones has a clear melodic line
in half-acute tessitura, with an accompaniment of metals, and full orchestration that
gives solemnity to a character whose life experience is reflected in a slower rhythm
than that for other characters.
MOVIE
ACTION
FUNTION
The Last
Crusade
Indiana reaches the castle where he is trapped in a castle. Le
account progress made in the investigation
Descriptive
The Last
Crusade
When Indiana and his father are transported by the Nazis to
where this Wlater Donovan
Descriptive
The Last
Crusade
Henry Jones thinks his son has fallen in Lamante precipicioy
loss. When he returns to look back and hugs his subject.
Descriptive-
indicative
The Last
Crusade
Wlater recaptures Jones in the place where the Grail is. After a
discussion shoots Henry Jones.
Descriptive
The Last
Crusade
It is with this crusader saving the grail.
Descriptive
The Last
Crusade
Indiana lamented personal losses he has lived in recent years.
On the table is a picture of his father.
indicative
Table 13: Sequence of insertion and functions of the leitmotiv of Henry Jones.
Source:
Authors
The theme of Henry Jones is mainly used with a descriptive function of the
relationship with his son, of the moments at which both of them face Walter
Donovan and his Nazi allies, or his relationship with the Grail (as when he becomes
aware of the existence of the crusader).
In addition to the descriptive function, there is an indicative use of the theme as
Henry Jones laments on the edge of the cliff where he believes his son died. When
Indiana appears, the inclusion of the theme, slow and melancholy, indicates that
this relationship between father and son is resumed.
The theme of Henry Jones will be used again with an indicative function in
The
Kingdom of the Crystal Skull
as Indiana talks with the rector of the University of his
261
Revista de Comunicación de la SEECI. (Junio, 2015).
Año XIX
(nº 37), 238-267
life about the losses suffered in recent years. When mentioning such losses, the
theme of his father sounds, indicating that he -present in a photo - has died.
In this film, the last in the saga, Indiana Jones shares his adventure with a young
greassy called Mutt. This young man has a relevant role in the film as his
identification with his own theme shows. Mutt’s theme is characterized by an agile
melody, half-acute tessitura and full orchestration though with prominence of
wood-wind instruments, which reflects the youth of the character and his interest in
adventure.
MOVIE
ACTION
FUNTION
The kingdom of
the Crystal Skull
Indiana and Mutt cafeteria escape persecution by Russian
Descriptive
The kingdom of
the Crystal Skull
On the plane to Peru. Matt is checking the status of your bike.
The leitmotiv of Indiana leads to the Mutt and this again
Indiana.
Descriptive
The kingdom of
the Crystal Skull
Looking for a grave in the cemetery
Descriptive
The kingdom of
the Crystal Skull
Marion and Indianan are tucked way down in thequicksand.
She tells him that his son Mutt
substitute
The kingdom of
the Crystal Skull
Or swordfight begins with Irina. It indicates who is winning.
Descriptive-
indicative
Table 14: Sequence of insertion and functions of the leitmotiv of Mutt. Source:
Authors.
Its use is mainly descriptive, usually related to his interaction with Indiana Jones. In
fights, it also assumes an indicative function indicating when Mutt dominates in the
fight, as in the case of other characters. Beyond this use, similar to other musical
themes, the leitmotiv of Mutt is used with a substitutive function. Swallowed by
quicksand, Marion confesses Indiana the identity of the young man while Mutt is
present in the conversation through his theme.
The theme of the young man will sound in another sequence, the sword fight with
Irina, only to disappear afterwards in favor of the leitmotiv of Marion -which goes to
identify the family- or Indiana Jones in the final sequence when the his hat falls at
the feet of Mutt (Henry Jones III) indicating a possible continuity of the family saga.
4.1.4. Musical themes of enemies
The adventures of Indiana Jones would not be the same if, in his quest for a
historical object, he did not have not face a series of opponents and enemies.
Although, in the first installment of the saga, these enemies lack their own theme
and are identified with percussively rhythmic themes resembling military marches,
dissonant compositions -which emphasize the development of action- or Moorish-
inspired motifs, which mark the local color of music-, from
The Temple of Doom
on,
opponents will be endowed with a leitmotiv.
261
262
Revista de Comunicación de la SEECI. (Junio, 2015).
Año XIX
(nº 37), 238-267
This movie [
The Temple of Doom
], the Thuggee have their own theme performed
by brass-wind instruments in a minor mode that -along with drums and choruses
accompanying the sacrifice- will constitute the identifying music of the underground
temple. Thugge have only the entity in the sacrificial room and in the mine, so the
leitmotiv is exclusively associated to these spaces.
In
The Last Crusade
, though the enemy has many faces -Donovan, Schneider, the
Gestapo and the Nazi army commanders- all of them will be identified with a single
musical theme. This theme is a composition with a rhythmic phrasing -which
resembles a full orchestration that gives it solemnity, but in a minor mode that
reflects the real essence of these characters.
MOVIE
ACTION
FUNTION
The Last
Crusade
In the Hall of the Palace to dondfe have led to Jones, Walter
will be presented as an antagonist
Descriptive-
indicative
The Last
Crusade
Marcus is trapped in Egypt.
indicative
The Last
Crusade
Elsa and Donovan leave the place where they are withheld
Jones, each with a different destination.
Descriptive
The Last
Crusade
As the Nazis begin to catch up, Leitmotiv outlined in the action
music
Descriptive-
indicative
The Last
Crusade
Once in the air, when Jones are prepared to continue their
adventure, they realize a change of umbo Airship.
Descriptive
The Last
Crusade
Nazi advance through the desert tankers ezaxacto to find the
point where the Grail is hidden.
Descriptive
The Last
Crusade
Henry jones he is going to rescue his friend Marcus Nazi tank
and is surprised.
Descriptive
The Last
Crusade
After the persecution of Indiana by tanks. He goes out the
hatch Nazi colonel and are facing each other.
Descriptive-
indicative
The Last
Crusade
Throughout the fight to get first to the place where the grail is
located, it is played repeatedly.
Descriptive-
indicative
Table 15: Sequence of insertion and functions of the leitmotiv of the Nazis.
Source:
Authors.
This leitmotif is introduced for the first time when Indiana and Henry Jones,
captured by the Nazis and stripped of the newspaper, are transferred to the hall of
the castle. Here awaits Donovan, so the musical theme is associated -through an
indicative function- to the three faces of the enemy: Walter Donovan, Elsa
Schneider and the ranking Nazis.
The identification of this topic with the Nazis will show the viewer who is
responsible for the kidnapping of Marcus in Egypt because, during the interaction of
the Rector with his captors, the theme is heard again.
As is the case with other leitmotivs, the use of this composition is usually associated
with a descriptive function underlining those moments when the Nazis (and their
allies) are one step ahead of the Joneses or surprise them. To this use of the
262
262
Revista de Comunicación de la SEECI. (Junio, 2015).
Año XIX
(nº 37), 238-267
This movie [
The Temple of Doom
], the Thuggee have their own theme performed
by brass-wind instruments in a minor mode that -along with drums and choruses
accompanying the sacrifice- will constitute the identifying music of the underground
temple. Thugge have only the entity in the sacrificial room and in the mine, so the
leitmotiv is exclusively associated to these spaces.
In
The Last Crusade
, though the enemy has many faces -Donovan, Schneider, the
Gestapo and the Nazi army commanders- all of them will be identified with a single
musical theme. This theme is a composition with a rhythmic phrasing -which
resembles a full orchestration that gives it solemnity, but in a minor mode that
reflects the real essence of these characters.
MOVIE
ACTION
FUNTION
The Last
Crusade
In the Hall of the Palace to dondfe have led to Jones, Walter
will be presented as an antagonist
Descriptive-
indicative
The Last
Crusade
Marcus is trapped in Egypt.
indicative
The Last
Crusade
Elsa and Donovan leave the place where they are withheld
Jones, each with a different destination.
Descriptive
The Last
Crusade
As the Nazis begin to catch up, Leitmotiv outlined in the action
music
Descriptive-
indicative
The Last
Crusade
Once in the air, when Jones are prepared to continue their
adventure, they realize a change of umbo Airship.
Descriptive
The Last
Crusade
Nazi advance through the desert tankers ezaxacto to find the
point where the Grail is hidden.
Descriptive
The Last
Crusade
Henry jones he is going to rescue his friend Marcus Nazi tank
and is surprised.
Descriptive
The Last
Crusade
After the persecution of Indiana by tanks. He goes out the
hatch Nazi colonel and are facing each other.
Descriptive-
indicative
The Last
Crusade
Throughout the fight to get first to the place where the grail is
located, it is played repeatedly.
Descriptive-
indicative
Table 15: Sequence of insertion and functions of the leitmotiv of the Nazis.
Source:
Authors.
This leitmotif is introduced for the first time when Indiana and Henry Jones,
captured by the Nazis and stripped of the newspaper, are transferred to the hall of
the castle. Here awaits Donovan, so the musical theme is associated -through an
indicative function- to the three faces of the enemy: Walter Donovan, Elsa
Schneider and the ranking Nazis.
The identification of this topic with the Nazis will show the viewer who is
responsible for the kidnapping of Marcus in Egypt because, during the interaction of
the Rector with his captors, the theme is heard again.
As is the case with other leitmotivs, the use of this composition is usually associated
with a descriptive function underlining those moments when the Nazis (and their
allies) are one step ahead of the Joneses or surprise them. To this use of the
263
Revista de Comunicación de la SEECI. (Junio, 2015).
Año XIX
(nº 37), 238-267
leitmotiv an indicative function can also be added to mark their dominance at the
time of persecution and war.
Also Irina, who personifies the Russian friend in
The Kingdom of the Crystal Skull
has her own identifying theme. A composition in half-serious tessitura, with a minor
tone and a simple orchestration to accompany the KGB agent throughout the film.
The first time Irina appears in the American base taken by the Russians, his musical
theme is introduced, that theme helps complete the description of the character as
it points at his (indicative function) as the main antagonist of Indiana’s adventure.
MOVIE
ACTION
FUNTION
The kingdom
of the Crystal
Skull
It comes in the base taken by the Russians, when they are
about to take medians with Indiana Jones and slow.
Descriptive-
indicative
The kingdom
of the Crystal
Skull
Irina returns to take command of his men
Descriptive
The kingdom
of the Crystal
Skull
When in the interrogation with government agents, and Irina
speaks of these will present their history
Descriptive
The kingdom
of the Crystal
Skull
Indiana Irina tells his theory that the caravel belongs to aliens
from another planet
Descriptive
The kingdom
of
the Crystal
Skull
Irina meets grasping caravel
Descriptive
The kingdom
of the Crystal
Skull
It is unarmed and decides to use the sword
Descriptive
The kingdom
of the Crystal
Skull
Indiana and his family leave under the watchful eyes of Irina
Descriptive
The kingdom
of the Crystal
Skull
Irina Irina finds the trail and follows
Descriptive
The kingdom
of the Crystal
Skull
Irina will pidetener all knowledge to the caravel. Its overly sharp
and fast theme outlined
indicative
The kingdom
of the Crystal
Skull
Irina are charging you so much information that you exploit the
eyes
Descriptive
263
264
Revista de Comunicación de la SEECI. (Junio, 2015).
Año XIX
(nº 37), 238-267
Table 16: Sequence of insertion and functions of the leitmotiv of Irina. Source:
Authors.
The use of this theme is mainly descriptive: Irina’s situation, his relationship with
Indiana and –by extension- the progress made by the Russians (the new enemy of
America in the Cold War).
However its use, when Irina asks the aliens to have all the knowledge in the world,
responds to an indicative function. The theme sounds creaky, in an excessively
sharp and accelerated tessitura, which turns out to be premonitory of the end of
the agent. Shortly afterwards, his theme is played again -with a descriptive
function- while we witness the disintegration of his brain.
5. CONCLUSIONS
The analysis of the tetralogy of Indiana Jones has enabled us to highlight a profuse
use of the leitmotiv. These themes accompany various actors in the movies: the
protagonist (also in his youthful version), his affairs, friends, enemies and even
relics and magic objects that motivate his adventures.
The use of the leitmotiv is a characteristic feature of the saga in its various
deliveries. While, in the first film, the soundtrack introduces three recurrent themes
related to Indiana Jones, Marion and the Ark, its use will be expanded in the
following films to other characters and objects.
The leitmotiv of Indiana Jones is a further attribute in the characterization of the
character -like his whip and hat- to the point of constituting the sound mark of the
whole saga. Similarly, this theme would mean nothing without the character of
Luke.
This relationship raises -following Winters (2010)- a problematic issue with regard
to the study of film music. The theme of Indiana Jones would rank as extradiegetic
music since the source of this music not only is absent from the image but is also
external to action -It belongs to the world of the imaginary pits- so it could be
replaced with any other. But, really, would it be the same to follow the adventures
of Indiana Jones with an accompaniment other than the first beats of
The raiders
march
?
The repetition of the first part of
The Raiders March
in all the films of the tetralogy
and the recovery of some leitmotivs that were relevant in the previous films (the
ark, the theme of senior Henry Jones or Marion) endow the saga with unity and
coherence, while allowing viewers to increase their engagement with the universe
of Indiana Jones.
Regarding the narrative functions of leitmotivs, one can highlight the predominance
of the descriptive use. A function that is reflected in the different variations of the
264
264
Revista de Comunicación de la SEECI. (Junio, 2015).
Año XIX
(nº 37), 238-267
Table 16: Sequence of insertion and functions of the leitmotiv of Irina. Source:
Authors.
The use of this theme is mainly descriptive: Irina’s situation, his relationship with
Indiana and –by extension- the progress made by the Russians (the new enemy of
America in the Cold War).
However its use, when Irina asks the aliens to have all the knowledge in the world,
responds to an indicative function. The theme sounds creaky, in an excessively
sharp and accelerated tessitura, which turns out to be premonitory of the end of
the agent. Shortly afterwards, his theme is played again -with a descriptive
function- while we witness the disintegration of his brain.
5. CONCLUSIONS
The analysis of the tetralogy of Indiana Jones has enabled us to highlight a profuse
use of the leitmotiv. These themes accompany various actors in the movies: the
protagonist (also in his youthful version), his affairs, friends, enemies and even
relics and magic objects that motivate his adventures.
The use of the leitmotiv is a characteristic feature of the saga in its various
deliveries. While, in the first film, the soundtrack introduces three recurrent themes
related to Indiana Jones, Marion and the Ark, its use will be expanded in the
following films to other characters and objects.
The leitmotiv of Indiana Jones is a further attribute in the characterization of the
character -like his whip and hat- to the point of constituting the sound mark of the
whole saga. Similarly, this theme would mean nothing without the character of
Luke.
This relationship raises -following Winters (2010)- a problematic issue with regard
to the study of film music. The theme of Indiana Jones would rank as extradiegetic
music since the source of this music not only is absent from the image but is also
external to action -It belongs to the world of the imaginary pits- so it could be
replaced with any other. But, really, would it be the same to follow the adventures
of Indiana Jones with an accompaniment other than the first beats of
The raiders
march
?
The repetition of the first part of
The Raiders March
in all the films of the tetralogy
and the recovery of some leitmotivs that were relevant in the previous films (the
ark, the theme of senior Henry Jones or Marion) endow the saga with unity and
coherence, while allowing viewers to increase their engagement with the universe
of Indiana Jones.
Regarding the narrative functions of leitmotivs, one can highlight the predominance
of the descriptive use. A function that is reflected in the different variations of the
265
Revista de Comunicación de la SEECI. (Junio, 2015).
Año XIX
(nº 37), 238-267
same musical theme introduced during times of action linked to a particular
character or related to a particular object.
Such variations (orchestration, tessitura, tonality, tempo) that are sometimes
outlined on another musical composition help describe the moment at which the
actor they characterize is and even the action.
When a conflict breaks out, the leitmotiv will sound on a compositional base
charged with dissonances, whereas if it is about to be resolved both pieces of music
(leitmotiv + score) will gradually become more consonant. This use confirms the
harmonious code marked by Frith (1998) for the action sequences.
Also in action sequences, persecution or conflict, there is an indicative function of
the leitmotiv because, in addition to describing the situation, it usually highlights
who holds the lead at every moment. This indicative function is also present in the
introduction -for the first time- of the theme of each historical object or certain
characters while pointing to what the central element of the adventure is, who will
have a close relationship with the protagonist or who will become the antagonist.
In short, the use of the leitmotiv in the saga of Indiana Jones gives a new
dimension to the film narrative with the inclusion and repetition of said identifying
themes. The composition, variations and functions of leitmotivs form an audiovisual
code that enriches the experience of viewers and immerses them in the world of
the mythic adventurer.
6. REFERENCES
BOOKS, BOOK CHAPTERS OF A BOOK ENTRY OR REFERENCE TECCHNICAL
REPORTS, THESES
Adorno, T. y Eichler, H. (1981).
El cine y la música.
Madrid: Fundamentos.
Aumont, J. y Michel, M. (1990).
Michel Análisis del film
. Barcelona: Paidós
Comunicación.
Aschieri, R.: (1999
). Over the Moon, La música de John Williams para el cine.
Chile:
Universidad Diego Portales Press.
Beltrán Moner, R. (1991).
Ambientación musical.
Madrid: Instituto Oficial de la Radio
Televisión Española.
Burt, G. (1994).
The art of film music.
Boston: Northearstern University Press.
Caldevilla Domínguez, D. (2005).
El sello de Spielberg.
Madrid: Vision Net.
Caldevilla, D. (2000).
El estilema de autor en Steven Spielberg: Un sello personal en
lo audiovisiual
(Tesis de doctorado), Universidad Complutense de Madrid, Madrid.
265
266
Revista de Comunicación de la SEECI. (Junio, 2015).
Año XIX
(nº 37), 238-267
Champlin, C. (1992). George Lucas.
The Creative Impulse
. New York: H.N. Abrams.
Chion, M. (1993). La Audiovisión. Introducción a un análisis conjunto de la imagen y
el sonido. Barcelona: Paidós.
Chion, M. (1997).
La música en el cine.
Barcelona: Paidós.
Frith, S. (1988).
Music for pleasure: essays on the Sociology of Pop
. Cambridge,
Cambridge University Press.
Gorbman, C. (1987).
Unheard Melodies.
Londres: The British Film Institute.
Jullier, L.(2007).
El sonido en el cine.
Barcelona: Paidós.
López Olano, C. (2001).
En busca del arca perdida.
Barcelona Octaedro.
Schaeffer, P. (1966).
Traité des objets musicaux.
Paris: Le Seuil.
Scheurer, T. E. (1997) John Williams and film music since 1971, en
Popular Music
and Society,
21 (1), 59-72, DOI: 10.1080/03007769708591655
Torelló, J. y Duran, J. (2014). Michel Chion en La audiovisión y una propuesta
práctica sobre un fragmento de Nostalgia de Andrei Tarkovski, en
L'Atalante,
18,
111-117.
JOURNALS, MAGAZINES, AND SIMILAR WEBES:
Bezuidenhout, F. J. T. (2009).
Music as brand, with reference to the film music of
John Towner Williams (with particular emphasis on williams’s‘main title’ for star
wars
), (Tesis de Master), University of the Witwatersrand. Johanesburgo.
Recuperado de http://wiredspace.wits.ac.za/jspui/handle/10539/7041?mode=full
Consultado el 14/12/2014.
Costantini (2001). No con un estallido sino con un gemido: fuentes literarias del
diseño de sonido en Apocalypse Now
Filmsound
. Recuperado de
http://filmsound.org/gustavo/apocalypsenow.htm. Consultado el 14/12/2014.
Costantini, G. (2002). Leitmotif Revisited, en
Filmsound.
Recuperado de
http://filmsound.org/gustavo/leitmotif-revisted.htm. Consultado el 14/12/2014.
Gertrúdix Barrio, M. y García García, F. (2013). El discurso musical en el cine: el
proceso de composición musical desde el análisis de sus estrategias narrativas,
enGómez Martínez, A. (Coord.) Nuevos discursos y constitución del punto de vista
.
Madrid: Icono 14. Recuperado de http://apolo.uji.es/fjgt/Teorias%20extracto.pdf.
Consultado el 14/12/2014.
Lincoln, D.A. (2011).
The art and craft of John Williams
(Tesis de posgrado), Oregon
State Universtity, Recuperado en
266
266
Revista de Comunicación de la SEECI. (Junio, 2015).
Año XIX
(nº 37), 238-267
Champlin, C. (1992). George Lucas.
The Creative Impulse
. New York: H.N. Abrams.
Chion, M. (1993). La Audiovisión. Introducción a un análisis conjunto de la imagen y
el sonido. Barcelona: Paidós.
Chion, M. (1997).
La música en el cine.
Barcelona: Paidós.
Frith, S. (1988).
Music for pleasure: essays on the Sociology of Pop
. Cambridge,
Cambridge University Press.
Gorbman, C. (1987).
Unheard Melodies.
Londres: The British Film Institute.
Jullier, L.(2007).
El sonido en el cine.
Barcelona: Paidós.
López Olano, C. (2001).
En busca del arca perdida.
Barcelona Octaedro.
Schaeffer, P. (1966).
Traité des objets musicaux.
Paris: Le Seuil.
Scheurer, T. E. (1997) John Williams and film music since 1971, en
Popular Music
and Society,
21 (1), 59-72, DOI: 10.1080/03007769708591655
Torelló, J. y Duran, J. (2014). Michel Chion en La audiovisión y una propuesta
práctica sobre un fragmento de Nostalgia de Andrei Tarkovski, en
L'Atalante,
18,
111-117.
JOURNALS, MAGAZINES, AND SIMILAR WEBES:
Bezuidenhout, F. J. T. (2009).
Music as brand, with reference to the film music of
John Towner Williams (with particular emphasis on williams’s‘main title’ for star
wars
), (Tesis de Master), University of the Witwatersrand. Johanesburgo.
Recuperado de http://wiredspace.wits.ac.za/jspui/handle/10539/7041?mode=full
Consultado el 14/12/2014.
Costantini (2001). No con un estallido sino con un gemido: fuentes literarias del
diseño de sonido en Apocalypse Now
Filmsound
. Recuperado de
http://filmsound.org/gustavo/apocalypsenow.htm. Consultado el 14/12/2014.
Costantini, G. (2002). Leitmotif Revisited, en
Filmsound.
Recuperado de
http://filmsound.org/gustavo/leitmotif-revisted.htm. Consultado el 14/12/2014.
Gertrúdix Barrio, M. y García García, F. (2013). El discurso musical en el cine: el
proceso de composición musical desde el análisis de sus estrategias narrativas,
enGómez Martínez, A. (Coord.) Nuevos discursos y constitución del punto de vista
.
Madrid: Icono 14. Recuperado de http://apolo.uji.es/fjgt/Teorias%20extracto.pdf.
Consultado el 14/12/2014.
Lincoln, D.A. (2011).
The art and craft of John Williams
(Tesis de posgrado), Oregon
State Universtity, Recuperado en
267
Revista de Comunicación de la SEECI. (Junio, 2015).
Año XIX
(nº 37), 238-267
https://ir.library.oregonstate.edu/xmlui/bitstream/handle/1957/22075/Final%20Thesi
s%20-%20Danae%20Lincoln.pdf?sequence=1. Consultado el 17/12/2014.
Peña, B. (2009). La emoción en el cine, en
Vivat Academia,
102. Recuperada de
http://www2.uah.es/vivatacademia/numeros/n102/investig.htm. Consultado el
17/12/2014.
Reginfo Gómez, J.P. (2010). Imagen, publico y sonido. Relaciones entre el séptimo
arte y música, en
Astrolabio,
9 (1), Recuperado de
http://www.revistaelastrolabio.com/ediciones-anteriores/volumen_9-
1/astrolabio_vol9_1_art8 Consultado el 17/12/2014.
267