Screaming through the century: The female voice as cathartic/transformative force, from Berg's Lulu to Tykwer's Run Lola Run

Alban Berg's opera Lulu, dating from the early part of the twentieth century, and Tom Tykwer's film from the end of the century, Lola rennt, (known to English-speaking audiences as Run Lola Run), have one striking feature in common: both culminate in an ear-splitting scream. At first glanc...

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Autor principal:	Maree Macmillan
Formato:	article
Lenguaje:	EN
Publicado:	University of Edinburgh 2006
Materias:	Fine Arts N Language and Literature P
Acceso en línea:	https://doaj.org/article/789629a8d4ed41c096d3c274a353de9a
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spelling	oai:doaj.org-article:789629a8d4ed41c096d3c274a353de9a2021-11-23T09:46:01ZScreaming through the century: The female voice as cathartic/transformative force, from Berg's Lulu to Tykwer's Run Lola Run1749-9771https://doaj.org/article/789629a8d4ed41c096d3c274a353de9a2006-08-01T00:00:00Zhttp://www.forumjournal.org/article/view/563https://doaj.org/toc/1749-9771Alban Berg's opera Lulu, dating from the early part of the twentieth century, and Tom Tykwer's film from the end of the century, Lola rennt, (known to English-speaking audiences as Run Lola Run), have one striking feature in common: both culminate in an ear-splitting scream. At first glance, these two works appear poles apart in time, genre and cultural context, although both are Teutonic in origin. Berg's "high-art" opera, based on the serial techniques of the Schoenberg school of composition, derives from Frank Wedekind's fin-de-siècle Lulu plays, Earth Spirit and Pandora's Box. By contrast, Tykwer's film is an end-of-millennium "art-house" film that, on its release, quickly became a cult movie in Germany and beyond; fast-paced, visually and technically innovative, and backed by a driving techno soundtrack, its resonances with many aspects of video games and hypermedia position it as a text that heralds the twenty-first century. This article will explore how the screams (marking points of transformation at the denouement of each of these early and late twentieth-century works) are very different.Maree MacmillanUniversity of EdinburgharticleFine ArtsNLanguage and LiteraturePENForum (2006)
institution	DOAJ
collection	DOAJ
language	EN
topic	Fine Arts N Language and Literature P
spellingShingle	Fine Arts N Language and Literature P Maree Macmillan Screaming through the century: The female voice as cathartic/transformative force, from Berg's Lulu to Tykwer's Run Lola Run
description	Alban Berg's opera Lulu, dating from the early part of the twentieth century, and Tom Tykwer's film from the end of the century, Lola rennt, (known to English-speaking audiences as Run Lola Run), have one striking feature in common: both culminate in an ear-splitting scream. At first glance, these two works appear poles apart in time, genre and cultural context, although both are Teutonic in origin. Berg's "high-art" opera, based on the serial techniques of the Schoenberg school of composition, derives from Frank Wedekind's fin-de-siècle Lulu plays, Earth Spirit and Pandora's Box. By contrast, Tykwer's film is an end-of-millennium "art-house" film that, on its release, quickly became a cult movie in Germany and beyond; fast-paced, visually and technically innovative, and backed by a driving techno soundtrack, its resonances with many aspects of video games and hypermedia position it as a text that heralds the twenty-first century. This article will explore how the screams (marking points of transformation at the denouement of each of these early and late twentieth-century works) are very different.
format	article
author	Maree Macmillan
author_facet	Maree Macmillan
author_sort	Maree Macmillan
title	Screaming through the century: The female voice as cathartic/transformative force, from Berg's Lulu to Tykwer's Run Lola Run
title_short	Screaming through the century: The female voice as cathartic/transformative force, from Berg's Lulu to Tykwer's Run Lola Run
title_full	Screaming through the century: The female voice as cathartic/transformative force, from Berg's Lulu to Tykwer's Run Lola Run
title_fullStr	Screaming through the century: The female voice as cathartic/transformative force, from Berg's Lulu to Tykwer's Run Lola Run
title_full_unstemmed	Screaming through the century: The female voice as cathartic/transformative force, from Berg's Lulu to Tykwer's Run Lola Run
title_sort	screaming through the century: the female voice as cathartic/transformative force, from berg's lulu to tykwer's run lola run
publisher	University of Edinburgh
publishDate	2006
url	https://doaj.org/article/789629a8d4ed41c096d3c274a353de9a
work_keys_str_mv	AT mareemacmillan screamingthroughthecenturythefemalevoiceascathartictransformativeforcefrombergslulutotykwersrunlolarun
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Screaming through the century: The female voice as cathartic/transformative force, from Berg's Lulu to Tykwer's Run Lola Run

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