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 parts of curiosity in movie reviews. but scholarship during this up-and-coming box has been beset via the inability of a standard language and method among movie and track idea. Drawing at the philosophy of Gilles Deleuze, movie stories pupil Gregg Redner presents an research of the matter which then varieties the root of his exploration of the functionality of the movie ranking and its relation to film's different components. 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 rating for Kozintsev's Hamlet -- Fragments of a existence: becoming-music/woman In Kryzysztof Kieslowski's Blue -- The altering belief of house as a delineator In movie rating sort: a comparative research of the ratings for issues to return and Scott of the Antarctic -- end -- References -- Corpus of movies -- motion pictures stated in textual content

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Extra resources for Deleuze and film music : building a methodological bridge between film theory and music

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It is also what vibrates at the threshold of a given form’ (Conley 2005c: 244). In every sense, then, the Bargeman’s Song is received by the spectator as pure sensation before we enter into the world of the film. The bifurcated structure of the Bargeman’s Song makes more sense, seen in this light, for it represents in a way both what is already and what is to come. We do not know this at the beginning of the film, but we do sense the perplexing duality of playfulness and lyricism combined, 40 Deleuzian Sensation and Maurice Jaubert’s Score For L’Atalante perhaps uneasily, in the cue.

Part One: Diegetic music: 57%, non-diegetic music: 43%. Part Two: Diegetic music: 29%, non-diegetic music: 71%. 5. Total diegetic music in the film: 42%. Total non-diegetic music in the film: 58%. So, what can we conclude from understanding the thematic structure of Jaubert’s score? First of all, it is apparent from studying Table 1 that Jaubert made use of a tremendous amount of diegetic music in this score. Studying the table further, it becomes apparent that, in Part One of the film, the use of diegetic cues outweighs the use of non-diegetic cues.

Ronald Bogue has a rather nice way of summing this up when he says, ‘rather than sensation being projected onto a calm material surface, the material rises up into a metaphoric plane of forces…in music variegated timbres, microintervals, and fluctuating rhythms make a malleable sonic force matter’ (Bogue 2003: 169). What Bogue means by this, I believe, is that the artistic work of the score does not happen on the canvas of the composer’s score, the printed page, but rather when this printed page is realized in performance, realized as sensation, with all of its inherent implications.

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