Video Essay: Contrapuntal Music

This video essay explores the concept of counterpoint in film music. Conventional film music, which underscores and parallels the emotion of the image, is ‘homophonous’. Counterpoint is created when the music deliberately contradicts the ‘character of the images’.

'Music not only accompanies the images but it interferes deeply in the complex connection between the film, the filmmaker and the audience'

For example, in ‘Jarhead’ (Sam Mendes, 2005), the song ‘Don’t Worry, Be Happy’ is used over a highly stressful fight scene, creating counterpoint.

Another example of contrapuntal music is the use of the song 'Lovely Day' over a scene of Aron struggling whilst trapped in '127 Hours' (Danny Boyle, 2010)

Other directors that have famously made use of this are Quentin Tarantino and Stanley Kubrick, in films such as ‘Reservoir Dogs’ (1992) and ‘Dr. Strangelove’ (1964).

In such cases, the music used is independent from the image: differing in rhythm, emotional expression or lyrics. Through this separation, it is claimed that the music becomes as equally important as the visuals. This dynamic of the visual ‘thesis’ and auditory ‘antithesis’ creates a new meaning in the film which is to be ‘decoded’ by the audience – adding intellectual and artistic value to the film.The most interesting point raised is that the use of contrapuntal music has a variety of effects on the film/scene’s message.

• Moralization – in Michael Moore’s ‘Bowling For Columbine’ (2002), the use of ‘What a Wonderful World’ over images of war forces us to confront or question our morality.

• Philosophical – in ‘Chungking Express’ (Wong Kar, Wai, 1994), the use of the song ‘California Dream’ conveys the character’s philosophy and wishes to escape his environment.
• Dramatization – a contrast between soft music and images of destruction in ‘Miasto Nieujarzmione’ (1950, Jerzy Zarzycki) enhances the drama.
• Decharacterization - classical music played over a fight scene in 'A Clockwork Orange' (Stanley Kubrick, 1971) adds a darkly comic tone, as though it is a dance.

'The importance of contrapuntal music becomes clear when it is exchanged for underscoring music.' In the final part of the video, we see two different versions of music for the opening scene of 'Wall-E' (Andrew Stanton, 2008). In one, a soft, melancholic soundtrack adds a sense of sadness to the images. In the other, the up-beat song 'Put on your Sunday clothes' contrasts with the desolate imagery, heightening the sense of isolation and reflecting Wall-E's sprightly, optimistic character.

This change of meaning is suggested to be the musical equivalent of the 'Kuleshov effect'. With contrapuntal music, the music and the images are two independent elements, and neither is dominating or supporting the other. As a result, the viewers derive meaning from both elements, enhancing their engagement with the film.