Pre-existing classical music in French auteur cinema in the 2010s
Baroque predominance and processes of choices in a digital world
DOI:
https://doi.org/10.15448/1980-3729.2023.1.44852Keywords:
French cinema, Contemporary cinema, pre-existing music, BaroqueAbstract
In the Nouvelle Vague, there was a relevant use of music of classical repertoire (Alvim, 2017), usually aligned to the director’s taste (“auter music”, according to Gorbman, 2007), such as Beethoven´s pieces in Godard’s films. In contemporary French films, there is a recurrence of works by Bach and Vivaldi, which could partly be explained by their omnipresence in digital platforms. In a chosen corpus from films selected by the Cannes Film Festivals in the 2010s, we analyze the aesthetic use of this baroque repertoire and the motivations for the choice.
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