Figurative and Dramatic Functions of Tango in Film Music
In the article, on the example of the analysis of film music from different periods of the development of cinema art and national schools: domestic and American, the role of tango as a component of film music is considered. In the analysis of films, tango is considered in the context of the entire musical material as a whole and in conjunction with the visual and sound (verbal text, sound effects) series of media text. The parameters associated with the methods of introduction, the meaning of using the tango genre, the relationship with the storylines of films, the significance in the formation of imagery and dramatic functions are revealed. It is proved that the musical thematicism represented by borrowed material - “Tango of the Nightingale” (music by Y. Bogoslovsky), “I’m Infinitely Sorry” (music by A. Tsfasman, lyrics by B. Timofeev)” in the film Wounded Wounds (Mosfilm, 1976, dir. N. Gubenko, comp. V. Panchenko) - and created especially for the film Frida (Miramax Films, 2002, dir. D. Taymor) by composer E. Goldenthal, recreates the era, specifies the characters, conveys the national flavor, forms the emotional and psychological atmosphere of films, acts as leitmotifs, becomes a means of creating climaxes and an important factor in dramaturgy through the representation of the key idea of the works. At the same time, in Frida, the tango in its authentic performance creates a national flavor to a greater extent and characterizes the passion of the main character’s nature, hence the soloing of the rhythmic beginning, sharp accents, and the transfer of the ethnic color of the sound. In Wounded Boys, the borrowed tango material characterizes the era, social atmosphere, childhood memories, nostalgia, which is conveyed through tango in its lyrical content with expressive melody and ensemble instrumental composition, typical for the European existence of this genre.