Pre-existing classical music in French auteur cinema in the 2010s

Baroque predominance and processes of choices in a digital world

Authors

DOI:

https://doi.org/10.15448/1980-3729.2023.1.44852

Keywords:

French cinema, Contemporary cinema, pre-existing music, Baroque

Abstract

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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Author Biography

Luíza Alvim, University of São Paulo (USP), São Paulo, SP, Brazil.

PhD in Communication and Culture (Federal Univ of Rio de Janeiro, UFRJ, Brazil), including one-year doctoral stage at University Paris 3, France, under supervision of Michel Chion. Her thesis gave origin to the book “A música no cinema de Robert Bresson” (Music in the cinema of Robert Bresson). PhD in Music (Federal Univ of State of Rio de Janeiro, Brazil), with a thesis about preexisting classical music in French New Wave. Her current post-doctoral research (at Univ of São Paulo, USP, with CNPq scholarship) is about classical music in contemporary cinema.

References

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Published

2023-10-04

How to Cite

Amorim Melo Alvim, L. B. (2023). Pre-existing classical music in French auteur cinema in the 2010s: Baroque predominance and processes of choices in a digital world. Revista FAMECOS, 30(1), e44852. https://doi.org/10.15448/1980-3729.2023.1.44852

Issue

Section

DOSSIER: French Cinematography: from the Lumières & Méliès to VR & AI