Year: 2023
Type: article
Abstract: In the Nouvelle Vague, there was a relevant use of music of classical repertoire (Alvim, 2017), usually aligned to the director’s taste (“auter music”, according to Gorbman, 2007), such as Beethoven´s pieces in Godard’s films. In contemporary French films, there is a recurrence of works by Bach and Vivaldi, which could partly be explained by their omnipresence in digital platforms. In a chosen corpus from films selected by the Cannes Film Festivals in the 2010s, we analyze the aesthetic use of this baroque repertoire and the motivations for the choice.
Source: Revista FAMECOS
Author: Luíza Beatriz Amorim Melo Alvim
Institution: Universidade de São Paulo
Language: English
Topic: Cinema History and Criticism
Subfield: Visual Arts and Performing Arts
Field: Arts and Humanities
Domain: Social Sciences
Open Access status: diamond
OpenAlex ID: W4387342448