By Gregg Redner

The research of movie track is rising as one of many fastest-growing parts of curiosity in movie reports. but scholarship during this up-and-coming box has been beset by way of the shortcoming of a standard language and method among movie and tune concept. Drawing at the philosophy of Gilles Deleuze, movie stories pupil Gregg Redner offers an research of the matter which then kinds the root 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 single: Leonard Rosenman and the rating for East of Eden -- Dmitri Shostakovich's rating for Kozintsev's Hamlet -- Fragments of a existence: becoming-music/woman In Kryzysztof Kieslowski's Blue -- The altering notion of house as a delineator In movie rating sort: 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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The reason for this is, of course, the mise-en-scène’s reliance on internal source music to drive the narrative. This is, however, reversed in Part Two of the film, where the amount of non-diegetic music dramatically outweighs the use of diegetic music. Again, the reason for this is driven by the narrative and the fact that Jean and Juliette are separated. Thus, the reliance on non-diegetic music provides continuity between the cross-cutting in the scenes depicting Juliette’s wanderings and Jean’s life on the 30 Deleuzian Sensation and Maurice Jaubert’s Score For L’Atalante barge.

The second concept I will employ will be Deleuze’s concept of the refrain. I will argue that both sonata form and Shakespeare’s Hamlet privilege the concept of the refrain and its subsequent derivative, the ‘return with difference’, which, as such, provides a perfect platform on which to understand the way that film and score relate and interact. 23 Deleuze and Film Music: Building a Methodological Bridge Between Film Theory and Music In Zbigniew Preisner’s score for Krzysztof Kieslowski’s Blue, I will pursue and develop the idea of the film/score/narrative as fragment, an idea which underlies much of the way the film and its manifold elements can be understood.

The first will be Deleuze’s concept of the eternal return, which I will argue is a way of understanding the external order of the film’s three principal sections which parallel the sonata form structure of the score. The second concept I will employ will be Deleuze’s concept of the refrain. I will argue that both sonata form and Shakespeare’s Hamlet privilege the concept of the refrain and its subsequent derivative, the ‘return with difference’, which, as such, provides a perfect platform on which to understand the way that film and score relate and interact.

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