By Gregg Redner
The research of movie song is rising as one of many fastest-growing parts of curiosity in movie experiences. but scholarship during this up-and-coming box has been beset through the shortcoming of a typical language and method among movie and song conception. Drawing at the philosophy of Gilles Deleuze, movie stories student Gregg Redner offers an research of the matter which then kinds the foundation of his exploration of the functionality of the movie ranking and its relation to film's different components. learn more... advent -- method -- Deleuzian sensation and Maurice Jaubert's rating for L'Atalante -- The department of the only: Leonard Rosenman and the ranking 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 belief of area as a delineator In movie ranking type: a comparative research of the rankings for issues to come back and Scott of the Antarctic -- end -- References -- Corpus of flicks -- movies stated in textual content
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Additional resources for Deleuze and film music : building a methodological bridge between film theory and music
Maurice Jaubert as film composer Maurice Jaubert was born in Nice in 1900. He studied piano at the Nice Conservatoire and later pursued Law at the Sorbonne. In 1925 he became music director for Pleyela Records. Later that year he began composing music for theatre, a pursuit which would remain his primary interest until 1929, when he was commissioned by Alberto Cavalcanti to compose the score for the latter’s film Le Petit chaperon rouge. During the remaining eleven years of his life Jaubert would compose over fifty film scores, working with many of France’s leading directors including Jean Vigo, René Clair, Marcel Carné, and Julien Duvivier.
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. It allows us to come to it from a number of various rhizomatic positions, avoiding the pitfalls that often hinder traditional comparative analysis. As Ronald Bogue has suggested, one of Deleuze and Guattari’s central concerns in What is Philosophy?
Père Jules lives the music; it excites and enlivens him and allows him to communicate. In a very direct sense it is part of who he is; it is that which is the becoming part of his ‘Père Jules-ness’. Interestingly, the music that Père Jules shares with Juliette in his cabin follows this line of flight completely. He progresses from singing silly, incomplete, and perhaps even made-up, folk songs, to entertaining her with mechanical devices, to finally performing for her on his accordion. It is this sense of musical-becoming in Père Jules that allows his character to go from 42 Deleuzian Sensation and Maurice Jaubert’s Score For L’Atalante being a silly old man to someone who can communicate with Juliette on an affective emotional level.