Advertisement

Hearing

  • Phil Powrie
Chapter

Abstract

This chapter shows how a song can fuse different layers of time in a moment of time out of time and affective excess, and in so doing becomes a crystal-song, echoing Gilles Deleuze’s notion of the crystal-image. This is linked to Roland Barthes’s notion of the “grain of the voice” and “punctum,” and contrasted with Amy Herzog’s “musical moments.” The chapter explores in detail mainly non-diegetic crystal-songs in two broad areas: the film in which a song is foregrounded by repetition or by mention in the dialogue; the film in which composers or singers are foregrounded by being both part of the music track and the dialogue, leading to sustained attention on one or more of the songs associated with them.

Keywords

Crystal-song Gilles Deleuze Crystal-image Roland Barthes “Grain of the voice” “Punctum” Amy Herzog 

References

  1. Allion, Yves and Jean Ollé-Laprune. 2005. Claude Lelouch: mode d’emploi. Paris: Calmann-Lévy.Google Scholar
  2. Anon. 2012. “Nos plus belles vacances: une énième chronique d’été en famille.” Ouest-France, 7 March. http://archives.nicematin.com/article/papier/nos-plus-belles-vacances-une-enieme-chronique-d%E2%80%99ete-en-famille.809536.html, accessed 5 August 2016.
  3. Barthes, Roland. 1977. Image, Music, Text: Essays Selected and Translated by Stephen Heath. London: Fontana.Google Scholar
  4. Barthes, Roland. 1980. La Chambre claire. Paris: Seuil.Google Scholar
  5. Barthes, Roland. 1982a. “Le Grain de la voix.” In L’Obvie et l’obtus, 236–245. Paris: Seuil. First published in Musique en jeu 9 (November 1972).Google Scholar
  6. Barthes, Roland. 1982b. “Le Troisième Sens.” In L’Obvie et l’obtus, 43–61. Paris: Seuil. First published in Cahiers du cinéma 222 (July 1970).Google Scholar
  7. Barthes, Roland. 1982c. Camera Lucida: Reflections on Photography. London: Jonathan Cape.Google Scholar
  8. Beauvoir, Simone de. 1960. Brigitte Bardot and the Lolita Syndrome. Translated by Bernard Fretchman. London: André Deutsch; Weidenfeld & Nicolson.Google Scholar
  9. Beigbeder, Frédéric. 2012. “Entretien avec Frédéric Beigbeder.” L’Amour dure trois ans [press-pack], 7–19. Paris: EuropaCorps.Google Scholar
  10. Bogue, Ronald. 2003. Deleuze: On Music, Painting, and the Arts. London: Routledge.Google Scholar
  11. Buchanan, Ian and Marcel Swiboda, eds. 2004. Deleuze and Music. Edinburgh: Edinburgh University Press.Google Scholar
  12. Deleuze, Gilles. 1985. L’Image-temps. Paris: Seuil.Google Scholar
  13. Deleuze, Gilles. 1989. Cinema 2: The Time Image. Translated by Hugh Tomlinson and Robert Galeta. London: Athlone Press.Google Scholar
  14. Donnelly, Kevin. J. 2005. The Spectre of Sound: Music in Film and Television. London: BFI.Google Scholar
  15. Enery, Manfred. 2015. “Ciné: l’éternel retour des comédies pieuses.” Le Jeudi, 22 January. http://jeudi.lu/cine-leternel-retour-des-comedies-pieuses/, accessed 9 May 2016.
  16. Guillard, Philippe. 2015. “Entretien avec Philippe Guillard.” On voulait tout casser [press pack], 7. Paris: Gaumont.Google Scholar
  17. Herzog, Amy. 2010. Dreams of Difference, Songs of the Same: The Musical Moment in Film. Minneapolis: University of Minnesota Press.Google Scholar
  18. Hulse, Brian and Nick Nesbitt, eds. 2010. Sounding the Virtual: Gilles Deleuze and the Theory and Philosophy of Music. Farnham: Ashgate.Google Scholar
  19. Lelouch, Claude. 2014. “Entretien avec Claude Lelouch.” Salaud, on t’aime [press-pack], 4–11. Paris: Les Films 13.Google Scholar
  20. Lellouche, Philippe. 2012. “Entretien avec Philippe Lellouche.” Nos plus belles vacances [press-pack], 4–5. Paris: Pathé.Google Scholar
  21. Martin-Jones, David. 2011. Deleuze and World Cinemas. London: Continuum.Google Scholar
  22. Moore, Allan F. 2012. Song Means: Analysing and Interpreting Recorded Popular Song. Farnham: Ashgate.Google Scholar
  23. Olier, Agnès. 2015. “Agnès Olier: La Dame dans l’Auto.” La Grande Évasion, http://www.lagrandeevasion.fr/actualites/agnes-olier-la-dame-dans-lauto_123/, accessed 26 April 2016.
  24. Pinhas, Richard. 2001. Les Larmes de Nietzsche: Deleuze et la musique. Paris: Flammarion.Google Scholar
  25. Powell, Anna. 2005. Deleuze and Horror Film. Edinburgh: Edinburgh University Press.CrossRefGoogle Scholar
  26. Powrie, Phil. 2014. “Soundscapes of Loss: Songs in Contemporary French Cinema.” In A Companion to Contemporary French Film, edited by Raphaëlle Moine, Hilary Radner and Alistair Fox, with Michel Marie, 527–546. Chichester: Wiley-Blackwell.Google Scholar
  27. Redner, Gregg. 2011. Deleuze and Film Music: Building a Methodological Bridge Between Film Theory and Music. Bristol: Intellect.Google Scholar
  28. Rossi, Jérôme. 2010. “La Chanson au cinema: proposition d’une triple méthodologie.” In Corpus et typologies, edited by Danièle Pistone, 69–91. Paris: Université de Paris-Sorbonne.Google Scholar
  29. Rossi, Jérôme. 2016a. “L’Art de la chanson de film selon Claude Lelouch: recherches formelles et émotions populaires.” In La Chanson dans le film français et francophone depuis la Nouvelle Vague, edited by Renaud Lagabrielle and Timo Obergöker, 209–223. Würzburg: Königshausen & Neumann.Google Scholar
  30. Rossi, Jérôme. 2016b. “La musique dans le cinéma de Claude Lelouch: la chanson, cœur battant du film.” La Musique de film en France, edited by Jérôme Rossi, 237–278. Lyon: Symétrie.Google Scholar
  31. Rossi, Jérôme. 2016c. “The Use of Songs in Films by Claude Lelouch: A Comprehensive Typology.” Kieler Beiträge zur Filmmusikforschung 12: 258–273. http://www.filmmusik.uni-kiel.de/KB12/KB12-Rossi.pdf, accessed 3 May 2016.Google Scholar
  32. Rouve, Jean-Paul. 2015. “Entretien avec Jean-Paul Rouve.” Les Souvenirs [press-pack], 3–6. Neuilly-sur-Seine: UGC.Google Scholar
  33. Sfar, Joann. 2015. “Entretien avec Jann Sfar.” La Dame dans l’auto avec des lunettes et un fusil [press pack], 6–10. Paris: Wild Bunch.Google Scholar
  34. Walsh, Maria. 2008. “The Double Side of Delay: Sutapa Biswas’ Film Installation Birdsong and Gilles Deleuze’s Actual/Virtual Couplet.” Refractory 14. http://refractory.unimelb.edu.au/2008/12/26/the-double-side-of-delay-sutapa-biswas%E2%80%99-film-installation-birdsong-and-gilles-deleuzes-actualvirtual-couplet-%E2%80%93-maria-walsh/ Accessed 11 January 2015.

Music

  1. “À bicyclette.” 1968. Yves Montand (pf.). Pierre Barouh, Francis Lai (comp.). © Editions Saravah/Editions 23.Google Scholar
  2. “After Laughter (Comes Tears).” 1964. Wendy Rene (Mary Frierson, pf.). Johnny Frierson, Mary Frierson (comp.). © Irving Music.Google Scholar
  3. “Amour, amour.” 1970. Michel Legrand (comp.). © Michel Legrand/Warner Chappell.Google Scholar
  4. “Baluba Shake.” 1966. Brunetta (pf.). Gorni Kramer, Alberto Testa (comp.). © Kramer.Google Scholar
  5. “Bang Bang.” 1968. Janis Martin and Her Boyfriends (pf.). Clavelle Isnard (comp.). © Ridgetop Music/Tinut.Google Scholar
  6. “Chess Anybody.” 1968. Michel Legrand (comp.). © MGM.Google Scholar
  7. “Décision, La.” 1976. Dave (pf.). Frank Farian, Fred Jay, Patrick Loiseau(comp.). © Première Music.Google Scholar
  8. “Dix ans plus tôt.” 1977. Michel Sardou (pf.). Pierre Billon, Jacques Revaux, Michel Sardou (comp.). © Art Music.Google Scholar
  9. “Du côté de chez Swann.” 1975. Dave (pf.). Michel Cywie, Patrick Loiseau (comp.). © Première Music.Google Scholar
  10. “Eaux de mars, Les.” 1973. Georges Moustaki (pf.). Antônio Carlos Jobim, Georges Moustaki (comp.). © Polydor.Google Scholar
  11. “Goodbye Marylou.” 1989. Michel Polnareff (pf.). Jean-René Mariani, Michel Polnareff (comp.). © Oxygene Music/EMI Music.Google Scholar
  12. “Holy Water.” 2013. Brighter Later (pf.). Jaye Kranz (comp.). © Jaye KranzGoogle Scholar
  13. “I Will Wait for You.” 1964. Michel Legrand, Nana Mouskouri (pf.). Norman Gimbel, Michel Legrand (comp.). © ATV Music/Universal Music.Google Scholar
  14. “Lady in the Car with Glasses and a Gun, The.” 1981. Scars (pf.). Robert Allan, John Mackie, Paul Mackie (comp.). © Chrysalis Music.Google Scholar
  15. “Love Attack.” 1966. James Carr (pf.). Quinton M. Claunch (comp.). © Screen Gems/EMI Music/Rise Music/Ridgetop Music.Google Scholar
  16. “My Baby Just Cares for Me.” 1930. Ange Fandoh (pf.). Walter Donaldson, Gus Kahn (comp.). © Donaldson/Bregman Vocco and Conn/EMI Music.Google Scholar
  17. “My Rifle My Pony and Me.” 1959. Dean Martin (pf.). Dmitri Tiomkin, Paul Webster (comp.). © WB MusicGoogle Scholar
  18. “Ne me laisse pas l’aimer.” 1964. Brigitte Bardot (pf.). Francis Fumière, Jean-Michel Rivat (comp.). © Les Nouvelles Éditions Méridien.Google Scholar
  19. “Nel cimitero di Tucson.” 1968. Gianfranco Reverberi, Gian Piero Reverberi (comp.). © Universal Music.Google Scholar
  20. “Que reste-t-il de nos amours?” 1942. Charles Trenet (pf./comp.). © Francis Salabert.Google Scholar
  21. “Sombreros et mantilles.” 1938. Annie Cordy (pf.). Chanty (Léon Depoisier), Jean Vaissade (comp.). © Méridian.Google Scholar
  22. “Spring.” 1999. Mia Doi Todd (pf./comp.). © Domino Publishing.Google Scholar
  23. “Try Me.” 1966. Esther Phillips (pf.). Jimmy Radcliffe, Buddy Scott (comp.). © Campbell Connolly.Google Scholar
  24. “Une petite fille.” 1962. Claude Nougaro (pf.). Jacques Dalin, Claude Nougaro (comp.) © Le Chiffre Neuf/Première Music.Google Scholar
  25. “Vanina.” 1974. Dave (pf.). French version by Patrick Loiseau of “Runaway”, Del Shannon, Max Crook (comp.). © Belton Street Music/Appoline Avenue Music/Mole Mole Music.Google Scholar
  26. “Warmth of You Beside Me, The.” 1967. Len Chandler (pf./comp.). © Edward B. Marks.Google Scholar
  27. “What a Difference a Day Makes.” 1934. Dinah Washington (pf.). Stanley Adams, Maria Grever (comp.). © Edward B. Marks Music.Google Scholar
  28. “Windmills of Your Mind, The.” 1968. Noel Harrison (English)/Michel Legrand (French) (pf.). Michel Legrand, Alan Bergman and Marilyn Bergman (English) and Eddie Marnay (French) (comp.). © EMI.Google Scholar

Copyright information

© The Author(s) 2017

Authors and Affiliations

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

Personalised recommendations