Music in Contemporary French Cinema The Crystal-Song
This book explores composed scores and pre-existing music in French cinema from 1985 to 2015 so as to identify critical musical moments. It shows how heritage films construct space through music, generating what Powrie calls “third space music,” while als
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‘Phil Powrie’s book would already be quite valuable for its first half—a revealing analysis of music’s role in the construction of gender, space, and time in French cinema since the 1980s, as well as of the dominance of English-language songs in recent French films. But then, his forcefully original work on the ‘crystal-song’ is required reading for anyone wishing to understand the frisson of meaning and affect we experience with particular songs, songs that change the direction and apprehension of stories on screen.’ — Claudia Gorbman, Professor Emeritus of Film Studies at the University of Washington, Tacoma, USA. She is the author of Unheard Melodies: Narrative Film Music (1987) ‘Powrie’s study of song in French cinema since the 1980s is full of compelling insights into the relationships between song and narrative, sounds and images, and genre and gender. Moving across the boundaries between “high” and “low” film art, between composed scores and pre-existing music, and between French and English songs, Powrie generates new historical knowledge and creates a stimulating new theoretical concept, the “crystal-song”.’ — Kelley Conway, Professor of Film at the University of Wisconsin-Madison, USA. She is the author of Chanteuse in the City: The Realist Singer in French Film (2004) ‘This book takes on an exciting project, approaching the history of French cinema from the vantage point of its engagement with popular music. Popular song has been essential to French cinema throughout its history, as Phil Powrie argues; but it has drawn relatively little scholarly attention. Cinema—and maybe French cinema especially—is thought of as a visual art, first and foremost. Powrie’s examination of French cinema from the standpoint of its links to popular music rests on an original, counterintuitive move that yields fresh insights.’ — Charles O’Brien, Associate Professor of Film Studies at Carleton University, Canada. He is the author of Cinema’s Conversion to Sound: Technology and Film Style in France and the United States (2005)
Phil Powrie
Music in Contemporary French Cinema The Crystal-Song
Phil Powrie University of Surrey Guildford, Surrey, United Kingdom
ISBN 978-3-319-52361-3 DOI 10.1007/978-3-319-52362-0
ISBN 978-3-319-52362-0 (eBook)
Library of Congress Control Number: 2017935382 © The Editor(s) (if applicable) and The Author(s) 2017 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant
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