Film Studies

Download E-books Dreams of Difference, Songs of the Same: The Musical Moment in Film PDF

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By Amy Herzog

Musical spectacles are over the top and summary, reconfiguring time and area and growing severe physically responses. Amy Herzog's enticing paintings examines these cases the place tune and circulation erupt from inside of extra linear narrative frameworks. The representational concepts present in those movies are frequently formulaic, repeating normal tale traces and stereotypical depictions of race, gender, and sophistication. but she unearths the musical second includes a robust disruptive potential.

Dreams of distinction, Songs of the Same investigates the strain and the fusion of distinction and repetition in movies to invite, How does the musical second paintings? Herzog appears to be like at an eclectic mixture of works, together with the Soundie and Scopitone jukebox motion pictures, the musicals of French director Jacques Demy, the synchronized swimming spectacles of Esther Williams, and an apocalyptic musical by means of Taiwanese director Tsai Ming-liang. a number of refrains flow between those texts: their reliance on clichés, their rewriting of cultural narratives, and their hallucinatory remedy of reminiscence and history.

Drawing at the philosophical paintings of Gilles Deleuze, she explores all of those dissonances as effective forces, and in doing so demonstrates the transformative strength of the unexpected.

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1 Recollection, like conception, is a procedure that's exterior to a person topic or psyche. even if participants may well shape reminiscence photos which are adapted towards their specific pursuits, those pictures for Bergson are distillations of a natural reminiscence, a collective previous that exists open air the human mind. The act of remembering doesn't a hundred and fifteen 116 En Chanté contain looking through the reservoirs of one’s brain for the matching reminiscence. as a substitute, to remember is to jump outdoors one’s self into the prior carried alongside through each one passing current. A Bergsonian figuring out of reminiscence and time finds a lot in regards to the position temporality performs in musical cinema. there's an emphasis on collectivity in musicals that's not often present in nonmusical narrative films, the presence of forces whose hobbies are higher than the person. Narrative development is secondary to the construction quantity that ruptures and suspends the plot. stream and transformation come up much less from narrative causality than from the rhythms of a musical, time-based good judgment. One sees this basically within the strength of the tune that sweeps characters up in its direction, relocating freely among them, a type of movement-of-world now not not like Bergson’s description of the earlier as a depersonalized presence that catalyzes emotions, activities, and inventive idea. but questions of historical past and the earlier should not simply addressed in a style that's frequently perceived as regressively nostalgic. Jacques Demy’s musical films, while contrasted with the works of his contemporaries, fairly these linked to the French New Wave, were brushed off as naïve and apolitical. “The fruitiest film ever made,” one reviewer of Les parapluies de Cherbourg writes, “like a French pastry . . . [it will be] little greater than an intricate confection. ”2 Terrance Rafferty says of Demy, “This auteur’s sensibility evidently lacks the invigorating tough edges we go together with the recent Wave. . . . He makes no highbrow calls for at the viewer: he goals to seduce, to not problem. ”3 Rafferty compliments the harmony of Demy’s “idea of the cinema” and “idea of the world”; that global, although, for Rafferty, is little greater than a stunning, remoted phantasm. Demy does forge a harmony among cinema and international; not often a meaningless decoration, despite the fact that, this solidarity is as difficult and politically correct because the films of his contemporaries. Demy’s global incisively collapses the excellence among cinema and existence, making a realm of indeterminacy that's faraway from insular. Like Jean-Luc Godard, Demy toys with the intersections of existence and cinema via unconventional juxtapositions of picture and sound and during self-conscious filmic references. His process, even if, isn't certainly one of Brechtian distantiation. four really, Demy’s intertextual references paintings to destabilize the viewer’s relation to the film via emotional resonance. Demy is much less attracted to breaking down the wall of identification than in plunging inward, exploring the correspondences among the intensely own and the pursuits of the realm.

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