Pre-existing classical music in French auteur cinema in the 2010s
Baroque predominance and processes of choices in a digital world
Bibliographic Data
| ID | 4061992 |
|---|---|
| Authors | Luiza Beatriz Amorim Melo Alvim (0000-0003-4816-6790, Universidade de São Paulo, corresponding author) |
| Year | 2023 |
| Volume | 30 |
| Issue | 1 |
| Publication date | 2023-10-04 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Revista FAMECOS (JOURNAL) |
| Journal identifiers | ISSN: 1415-0549 • E-ISSN: 1980-3729 |
| Publisher | Edipucrs (PUBLISHER • BR) |
| DOI | 10.15448/1980-3729.2023.1.44852 |
| OpenAlex | W4387342448 |
| Language | EN |
| References cited | 7 |
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
Aesthetics · Art · Art history · Auteur theory · Baroque · Classical music · Humanities · Literature · Movie theater · Musical · Omnipresence · Repertoire · Taste · Theology · Visual arts · Cinema and Media Studies · Musicology and Musical Analysis · Philosophy · Psychology · Visual Culture and Art Theory
| Highly cited | No |
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