by Quiet Visitor on Fri Dec 27, 2013 1:29 pm
In the catalogue mentioned above is an interview with director Gustav Deutsch. Here's an excerpt which shines some light on the way the music was used in the film:
Thomas Edlinger: The musis is by the instrumentalist Christian Fennesz and his musical part-time partner, the art pop singer David Sylvian. It comes from off-camera and is the aesthetic signature of the present. Is its purpose to intrude and prevent Shirley simply being enjoyed as Hopper nostalgia?
Gustav Deutsch: Already when we were making the Film ist. series, our aim had been to use music to take the images out of their time. The music serves as a bridge to the present, as an attempt to migrate the images out of their time and thus prevent them being observed merely nostalgically. In Shirley, there are on the one hand the atmospheres and noises that were researched as exactly as possible, that originate from the time and place of the painting in question, including music from the radio or a record. At the same time, sounds were created by Christian Fennesz and David Sylvian in the here and now. Christian took the atmospheres and noises as the starting point for his treatmens in order to emphasise the psychology of the characters and the mood between them. Whenever the protagonist leaves the room, Fennesz fills it with his atmospheric music. In addition, David Sylvian conducts a dialogue with the scenarios from the present. In one song, he interprets a poem by Emily Dickinson, Edward Hopper's favourite author.
One will notice that Shirley holds a book with poems by Emily Dickinson in her hands in one scene.