By Gregg Redner
The research of movie song is rising as one of many fastest-growing components of curiosity in movie stories. but scholarship during this up-and-coming box has been beset by way of the shortcoming of a typical language and method among movie and tune idea. Drawing at the philosophy of Gilles Deleuze, movie reviews student Gregg Redner offers an research of the matter which then varieties the foundation of his exploration of the functionality of the movie ranking and its relation to film's different components. learn more... creation -- technique -- Deleuzian sensation and Maurice Jaubert's rating for L'Atalante -- The department of the only: Leonard Rosenman and the rating for East of Eden -- Dmitri Shostakovich's ranking for Kozintsev's Hamlet -- Fragments of a lifestyles: becoming-music/woman In Kryzysztof Kieslowski's Blue -- The altering notion of area as a delineator In movie ranking kind: a comparative research of the ratings for issues to return and Scott of the Antarctic -- end -- References -- Corpus of movies -- movies pointed out in textual content
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Additional resources for Deleuze and film music : building a methodological bridge between film theory and music
17 Dance Song D Bistro Player Piano/ mechanical 3d. 25 PS D L’Atalante Vocal/ Instrumental 4a. 29 PS ND Paris/ L’Atalante Orchestra 4b. 03 Dance Song ND Paris Orchestra 4c. 18 BGII/ JW D/ ND L’Atalante Phono/ Accordion/ Orchestra 4d. 29 BGII D/ ND L’Atalante Phono/ Orchestra 4e. 53 BGII/ JW ND Paris/ L’Atalante Orchestra 4f. 05 LT ND Paris Orchestra 4g. 40 BG D Phono Shop Phono 4h. 59 BGII ND L’Atalante Orchestra 1. Total amount of music in the score: 31’ 59”. Total amount of music in Part One: 12’ 26”.
With this in mind, our next level of abstraction would be to relate the bloc of sensation to the areas of diegetic and non-diegetic music through a line of polarity, a type of free moving continuum that passes freely from one side of the bloc of sensation to the other. Diegetic ↔ Sensation ↔ non-diegetic Viewing the often-perceived non-conversant extremes of internal and external musics in this way allows us to relate the two levels of film music to each other without concerning ourselves with the superficial relationship of their position inside or outside the filmic universe.
I will reconcile these disparate fragments and relate them to each other by understanding them as a series of becomings: becomings which are both a becoming music and a becoming woman. I will argue that by relating the various elements of the filmic universe to each other in this way I will be able to integrate them in a complete whole which is, ultimately, a becoming film. In the final chapter, I will undertake a comparative analysis of the way that Arthur Bliss’ score for Things to Come and Ralph Vaughan Williams’ score for Scott of the Antarctic examine the changing conception of space that, Deleuze posits, occurred at the close of World War II.