• Phil Powrie


After a discussion of the concept of historical authenticity for the composed score, this chapter shows how music in the French heritage film functions. It supports the visual track by its utopian connotations of “open” maternal landscapes; it uses chamber music and classical compilation to narrow space down in dystopia; using the work of Michel Foucault (heterotopia), Homi Bhabha (third space) and Gilles Deleuze and Félix Guattari (deterritorialisation), it shows how music can create a “third space”, a heterotopic space of displacement that fractures the utopia/dystopia binary, creating a nomadic, indeterminate and constantly fluctuating space. Third space music opens space out laterally through temporal or idiomatic mismatch, or the introduction of “foreign bodies” that question the notion of continuity between the image-track and the music-track.


Heritage film Utopia Dystopia Heterotopia Third space Deterritorialisation 


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Copyright information

© The Author(s) 2017

Authors and Affiliations

  • Phil Powrie
    • 1
  1. 1.University of SurreyGuildfordUnited Kingdom

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