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2017 | OriginalPaper | Chapter

3. Gender

Author : Phil Powrie

Published in: Music in Contemporary French Cinema

Publisher: Springer International Publishing

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Abstract

This chapter explores the relationship between music and gender in the French heritage film (film de patrimoine). It shows how otherwise strong women protagonists are constrained by three procedures: disparaging references to music; the loss of the character-supporting leitmotif; the absence of music cued in by women protagonists. There is little difference between films directed by men and films directed by women. The films considered in detail are: Artemisia, Camille Claudel, Le Colonel Chabert, Les Enfants du siècle, Le Hussard sur le toit, Lady Chatterley, La Princesse de Montpensier, La Religieuse, Saint-Cyr, Thérèse Desqueyroux.

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For a brief account of Artemisia and Les Enfants du siècle from a gender perspective see Tarr with Rollet 2001, 273–278.

“Ambition or the pillow, it’s your choice.”

“All this music is tedious.”

“Oh, if I’m vouchsafed a tomb.”

“The Miller and the Brook.”

“I have the impression that this false note is responsible for my fate, that everything that happened afterwards stems from it.”

“The Well-Tempered Clavier.”

“My Father Gave Me a Husband,” collected in Sevestre 1633, 340.

“It is her body.”

“I Am Beautiful.”

“I am lovely, O mortals like a dream of stone,/And my bosom, where each one gets bruised in turn,/To inspire the love of a poet is prone,/Like Matter eternally silent and stern” (Baudelaire 1909, 18).

“The woman replaces the man as head of the family if he cannot express his wishes due to incapacity, absence, or any other reason.”

“Punk-no-future-seventeenth-century.”

“It’s my face, made by me.”

“I think you’re limp, terribly limp.”

“Family first.”

“When the music starts and when it stops.”

“We had all forgotten.”

“The end-credits music is never heard during the film, and is revealed at the end like a gift. I think that it is the real music of the film.”

“The tones are in harmony with birdsong, the silence of winter, the rain. At the same time as the Lady of the film blossoms as she discovers carnal love, she will discover nature, flowers, she looks at a squirrel, she soars with an eagle…The music relates this new force that she finds in nature and in love, and is both very tight and condensed.”

“The music tells a story, and even the silences are calculated.”

“The gallop and the ritornello are what we hear in the crystal, as the two dimensions of musical time, the one being the hastening of the presents which are passing, the other the raising or falling back of pasts which are preserved” (1989, 93).

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Monk, Claire. 1996–1997. “The Heritage Film and Gendered Spectatorship.” Close Up: The Electronic Journal of British Cinema 1. http://www.shu.ac.uk/services/lc/closeup/monk.htm. Accessed 6 February 2004.

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“Greensleeves.” c1580. Traditional English folk song.

“Intermezzo,” Fantasie op. 116 no 6. 1892. Johannes Brahms.

Intermezzos, incidental music for Esther. 1689. Jean-Baptiste Moreau.

Miserere. c1630. Gregorio Allegri.

“Mon père m’a donné un mari.” Traditional nursery rhyme.

“Müller und der Bach, Der,” Die schöne Müllerin, op. 25, D.795. 1820. Franz Schubert.

Partita no. 2 in C minor, BWV 826. 1727. Johann Sebastian Bach.

Stabat Mater, RV 621. 1712. Antonio Vivaldi.

Trio for Piano, Clarinet and Viola (Ein Terzett für Klavier, Clarinett und Viola) in E flat major, K.498 (“Kegelstatt”). 1786. Wolfgang Amadeus Mozart.

Wohltemperirte Clavier, Das (The Well-Tempered Clavier), BWV 846–893. 1722. Johann Sebastian Bach.

Title: Gender
Author: Phil Powrie
Publisher: Springer International Publishing
Book: Music in Contemporary French Cinema
Print ISBN: 978-3-319-52361-3

Electronic ISBN: 978-3-319-52362-0

Copyright Year: 2017
DOI: https://doi.org/10.1007/978-3-319-52362-0_3