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2017 | OriginalPaper | Buchkapitel

2. Space

verfasst von : Phil Powrie

Erschienen in: Music in Contemporary French Cinema

Verlag: 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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Vorheriges Kapitel Introduction

Nächstes Kapitel Gender

See amongst others Higson (1993), Monk (2002), Higson (2003), Leach (2004), Voigts-Virchow (2004), Voigts-Virchow (2007), Monk (2011), Vidal (2012).

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.”

Oh Elslein, dear Elslein.”

Transfigured Night.

“The Miller and the Brook.”

Mera cites Tous les matins du monde, to which I have already alluded. This does not exclude other uses, of course, whether of the composed or the compiled score. Robynn Stilwell explores the way in which Patrick Doyle’s “Classical” piano composition played by Marianne in Sense and Sensibility uses the sonata form “to fit the dramatic demands of the sequence, as well as using them to inflect the drama itself” (Stilwell 2000, 231).

“Cultivate the authentic.”

“Poppy Fields.”

“The Force of Destiny”; the opera was first performed in 1862.

“Ungrateful Heart.”

Why do you say those bitter words?…/Why do you come and say those words that hurt me so much?

“Colours do not move a people” (Deleuze and Guattari 1987, 348).

“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).

“We call a refrain any aggregate of matters of expression that draws a territory and develops into territorial motifs and landscapes” (1987, 323).

“Counter-sites, a kind of effectively enacted utopia in which the real sites, all the other real sites that can be found within the culture, are simultaneously represented, contested, and inverted. Places of this kind are outside of all places, even though it may be possible to indicate their location in reality” (1984).

“There is a rupture in the rhizome whenever segmentary lines explode into a line of flight, but the line of flight is part of a rhizome. These lines always tie back to one another. That is why one can never posit a dualism or a dichotomy, even in the rudimentary form of the good and the bad” (1987, 9).

“Music has always sent out lines of flight, like so many ‘transformational multiplicities’, even overturning the very codes that structure or arborify it” (1987, 11–12).

Harold in Italy.

“Lovers, spouses.”

“All the jewelry, the tie-pins, the costumes and laces are authentic…I used to go to the flea-market and to get what I needed.”

Dom za vesanje (1988) and Arizona Dream (1993). After the break-up of Yugoslavia, he worked in France, scoring a film starring Adjani, Toxic Affair (1993), before working with her again in La Reine Margot.

See Powrie (2003) for a discussion of the way rock stars are “always ‘out of place’, disjointed, disarticulated” (57).

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Deleuze, Gilles and Félix Guattari. 1980. Mille plateaux: capitalisme et schizophrénie. Paris: Minuit.

Deleuze, Gilles and Félix Guattari. 1987. A Thousand Plateaus: Capitalism and Schizophrenia. Translated by B. Massumi. London: Athlone.

Deleuze, Gilles. 1985. Cinéma 2: l’image-temps. Paris: Minuit.

Deleuze, Gilles. 1989. Cinema 2: The Time Image. Translated by H. Tomlinson and R. Galeta. London: Athlone.

Delon, Gaspard and Sandra Provini. 2015. Chéreau: La Reine Margot. Neuilly: Atlande.

Foucault, Michel. 1984. “Of Other Spaces.” [bilingual text] http://foucault.info/documents/heteroTopia/foucault.heteroTopia.en.html. Accessed 10 May 2016.

Gorbman, Claudia. 1987. Unheard Melodies: Narrative Film Music. Bloomington: Indiana University Press.

Hawkins, Peter. 2000. Chanson: The French Singer-songwriter from Aristide Bruant to the Present Day. Aldershot: Ashgate.

Higson, Andrew. 1993. “Re-presenting the National Past: Nostalgia and Pastiche in the Heritage Film.” In Fires Were Started: British Cinema and Thatcherism, edited by Lester Friedman, 109–129. London: UCL Press.

Higson, Andrew. 2003. English Heritage, English Cinema: Costume Drama since 1980. Oxford: Oxford University Press.

Jameson, Fredric. 1991. Postmodernism, or, The Cultural Logic of Late Capitalism. Durham: Duke University Press.

Kassabian, Anahid. 2001. Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music. New York: Routledge.

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Le Gras, Gwénaëlle. 2015. “Major Stars, the Heritage Film, and Patrimonial Values in Contemporary French Cinema.” In A Companion to Contemporary French Cinema, edited by Alistair Fox, Michel Marie, Raphaëlle Moine and Hilary Radner, 314–332. Chichester: Wiley-Blackwell.

Leach, Jim. 2004. “The Long Memory: History and Heritage.” Chapter 11 of Jim Leach, British Film, 199–234. Cambridge: Cambridge University Press.CrossRef

Mera, Miguel. 2001. “Representing the Baroque: The Portrayal of Historical Period in Film Music.” The Consort: The Journal of the Dolmetsch Foundation 57: 3–21.

Moine, Raphaëlle. 2009. “Introduction.” In Les Fictions patrimoniales sur grand et petit écran: contours et enjeux d’un genre intermédiatique, edited by Pierre Beylot and Raphaëlle Moine, 9–24. Bordeaux: Presses Universitaires de Bordeaux.

Monk, Claire. 2002. “The British Heritage Film Debate Revisited.” In British Historical Cinema: The History, Heritage and Costume Film, edited by Claire Monk and Amy Sergeant, 176–198. London: Routledge.

Monk, Claire. 2011. Heritage Film Audiences: Period Films and Contemporary Audiences in the UK. Edinburgh: Edinburgh University Press.

Pidduck, Julianne. 2005. La Reine Margot. Urbana: University of Illinois Press.

Pillard, Thomas. 2015. Tavernier: Un dimanche à la campagne. Neuilly: Atlande.

Powrie, Phil. 2000. “On the Threshold Between Past and Present: ‘Alternative Heritage’.” In British Cinema: Past and Present, edited by Andrew Higson and Justine Ashby, 316–326. London: Routledge.

Powrie, Phil. 2003. “The Sting in the Tale.” In Popular Music and Film, edited by Ian Inglis, 39–59. London: Wallflower.

Powrie, Phil. 2005. “‘I’m Only Here for the Beer’: Post-tourism and the Recycling of French Heritage Films.” In The Media and the Tourist Imagination, edited by David Crouch, Felix Thompson and Rhona Jackson, 143–153. London: Routledge.

Robin, Jean-François. 2011. Journal d’un tournage: La Fille du puisatier. Paris: Fallois.

Stilwell, Robynn J. 2000. “Sense and Sensibility: Form, Genre and Function in the Film Score.” Acta Musicologica 72: 219–240.CrossRef

Vanderschelden, Isabelle. 2013. Studying French Cinema. Leighton Buzzard: Auteur.

Vernisse, Caroline. 2005. “Paradoxes d’un genre renaissant en France: la biographie filmée.” In Le Cinéma face aux genres, edited by Raphaëlle Moine, 141–150. Paris: Association française de recherché sur l’histoire du cinema.

Vian, Boris. 1947. L’Écume des jours. Paris: Gallimard.

Vidal, Belén. 2012. “Introduction: Placing the Heritage Film.” In Belén Vidal, Heritage Film: Nation, Genre, and Representation, 1–6. New York: Wallflower.

Vincendeau, Ginette. 2005. “Un genre qui fait problème: le Heritage film. La critique face à un genre populaire des deux côtés de la Manche.” In Le Cinéma face aux genres, edited by Raphaëlle Moine, 131–140. Paris: Association française de recherché sur l’histoire du cinema.

Voigts-Virchow, Eckart. 2004. “‘Corset Wars’: An Introduction to Syncretic Heritage Film Culture Since the 1990s.” In Janespotting and Beyond: British Heritage Retrovisions Since the Mid-1990s, edited by Eckart Voigts-Virchow, 9–34. Tübingen: Gunter Narr.

Voigts-Virchow, Eckart. 2007. “Heritage and Literature on Screen: Heimat and Heritage.” In The Cambridge Companion to Literature on Screen, edited by Deborah Cartmell and Imelda Whelehan, 123–137. Cambridge: Cambridge University Press.CrossRef

“Ach Elslein, liebes Elslein.” Trad., arr. Ludwig Senfi.

Arabeske in C major, op. 18. 1839. Robert Schumann.

Beatrice di tenda. 1833. Vincenzo Bellini.

Carnaval, op. 9. 1834–1835. Robert Schumann.

Christus factus est. WAB 11. 1884. Anton Bruckner.

“Core ‘n grato.” 1911. Enrico Caruso (pf.). Salvatore Cardillo, Riccardo Cordiferro (comp.).

Drei Orchesterstücke (Three Orchestral Pieces), op. 6. 1914–1915. Alban Berg.

“Drive the Cold Winter Away, The Beggar Boy.” 1651. Anon. Collected by John Playford The English Dancing Master.

“Flüchtige Lust,” op. 46. 1830. Joseph Lanner.

Forza del destino, La (The Force of Destiny). 1862. Giuseppe Verdi.

Fünf Orchesterstücke (Five Pieces for Orchestra), op. 16. 1909. Arnold Schönberg.

Fünfe Stücke (Five Piece for Orchestra), op. 10. 1913. Anton Webern.

German Dance no. 1 in D major, K.605. Drei deutsche Tänze. 1791.Wolfgang Amadeus Mozart.

Guillaume Tell, op. 37. 1829. Gioachino Rossini (comp.), Étienne de Jouy and Hippolyte Bis (libr.).

Harold en Italie (Harold in Italy), op. 16. 1834. Hector Berlioz.

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

Miserere. c1630. Gregorio Allegri.

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

Piano Trio, op. 70 no. 2 in D major, “The Ghost.” 1809. Ludwig van Beethoven.

Symphonie fantastique, op. 14. 1830. Hector Berlioz.

Verklärte Nacht (Transfigured Night), op. 4. 1899. Arnold Schönberg.

Titel: Space
verfasst von: Phil Powrie
Verlag: Springer International Publishing
Buch: Music in Contemporary French Cinema
Print ISBN: 978-3-319-52361-3

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

Copyright-Jahr: 2017
DOI: https://doi.org/10.1007/978-3-319-52362-0_2