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2017 | OriginalPaper | Chapter

2. Space

Author : Phil Powrie

Published in: Music in Contemporary French Cinema

Publisher: Springer International Publishing

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Abstract

After a discussion of the concept of historical authenticity for the composed score, this chapter shows how music in the French heritage film functions. It supports the visual track by its utopian connotations of “open” maternal landscapes; it uses chamber music and classical compilation to narrow space down in dystopia; using the work of Michel Foucault (heterotopia), Homi Bhabha (third space) and Gilles Deleuze and Félix Guattari (deterritorialisation), it shows how music can create a “third space”, a heterotopic space of displacement that fractures the utopia/dystopia binary, creating a nomadic, indeterminate and constantly fluctuating space. Third space music opens space out laterally through temporal or idiomatic mismatch, or the introduction of “foreign bodies” that question the notion of continuity between the image-track and the music-track.

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See Monk 2011, 10–28 for a discussion of the evolution of the debate, and Powrie (2000) for “alternative heritage.”

“Historical reconstruction, literary adaptation, swashbuckler, melodrama, family saga, biography.”

“While the 1993 film was built around Raimu’s star persona, the 1993 version, while also focusing on Chabert, played here by Gérard Depardieu, describes with much more precision the locations in which the action takes place—a lawyer’s office, an aristocrat’s apartments, the crockery of a sumptuous dinner.”

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Beatrice di tenda. 1833. Vincenzo Bellini.

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Title: Space
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_2