Deleuze and film music : building a methodological bridge by Gregg Redner

By Gregg Redner

The research of movie track is rising as one of many fastest-growing components of curiosity in movie reports. but scholarship during this up-and-coming box has been beset via the shortcoming of a typical language and technique among movie and track thought. Drawing at the philosophy of Gilles Deleuze, movie reviews pupil Gregg Redner presents an research of the matter which then types the foundation of his exploration of the functionality of the movie rating and its relation to film's different parts. learn more... advent -- technique -- Deleuzian sensation and Maurice Jaubert's rating for L'Atalante -- The department of the single: Leonard Rosenman and the rating for East of Eden -- Dmitri Shostakovich's ranking for Kozintsev's Hamlet -- Fragments of a existence: becoming-music/woman In Kryzysztof Kieslowski's Blue -- The altering perception of area as a delineator In movie rating sort: a comparative research of the rankings for issues to return and Scott of the Antarctic -- end -- References -- Corpus of flicks -- movies brought up in textual content

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Of course, Jaubert’s reasons for doing this may have been driven in part by a fascination with electro-acoustical and mechanical technology. As I shall observe later, a number of the important narrative moments in the film are motivated and animated musically by forms of mechanical and audio technology. Obviously, on one level, Jaubert himself must have felt a certain level of comfort with the broadcast and mechanical reproduction technology of mass media. Of course, this view was not shared by others and writers such as Theodor Adorno and the members of the Frankfurt School openly disparaged mass communication and mass culture in their writings.

The Chanson Palace has an external street speaker, which, remarkably, is playing the ‘Chansons de mariniers’ as Père Jules, who is searching for Juliette walks by. This leads Père Jules to enter the Chanson Palace, where he finds Juliette and, slinging her over his shoulder like a sailor’s bag or bounty, takes her back to the barge and her eventual reconciliation with her husband Jean. On the surface this seems like a very simple scene involving resolution. The diegetic statement of the Bargeman’s Song—a theme that, as we have seen above, appears regularly throughout the film—leads to the resolution of the conflict which drives Vigo’s narrative.

Gilles Deleuze and Felix Guattari suggest that ‘[t]he work of art is a being of sensation and nothing else, it exists in itself ’ (Deleuze & Guattari 1994: 164). This is a very liberating statement because it suggests that we may find a common ground between all aspects of the filmic universe in the concept of sensation. If, as I suggested earlier, the power in Maurice Jaubert’s score for L’Atalante lies in his ability to exploit a sense of structural daring, which allows him to capture the discontinuity of narrative time and filmic events, then this concept becomes extremely liberating because it frees us from a preconceived notion of exactly what a film is.

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