By Amy Herzog
Musical spectacles are over the top and summary, reconfiguring time and house and growing excessive physically responses. Amy Herzog's attractive paintings examines these cases the place tune and move erupt from inside extra linear narrative frameworks. The representational suggestions present in those motion pictures are frequently formulaic, repeating ordinary tale strains and stereotypical depictions of race, gender, and sophistication. but she reveals the musical second incorporates a strong 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. numerous refrains circulation between those texts: their reliance on clichés, their rewriting of cultural narratives, and their hallucinatory therapy 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 energy of the unexpected.
Read or Download Dreams of Difference, Songs of the Same: The Musical Moment in Film PDF
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Extra resources for Dreams of Difference, Songs of the Same: The Musical Moment in Film
Song is refrainlike, and plenty of refrains may well functionality with a undeniable musicality, yet that's simply because they're expressive in nature, they introduce a undeniable openness and play of their circulations. hence, the marking out of a territory isn't a repressive institution of a code, a repetition of an analogous; it's the forging of assemblages among heterogeneous milieus. in the territory, even though, expressive traits may perhaps start to shift, evolving into stylistic motifs and counterpoints with a definite measure of autonomy, “budding, generating” (325). now not a placard only staking out the bounds of the territory (like the puppy that marks his area or the primate who flashes his sign), those independent refrains enhance their very own inner family, expressive kinds extra indifferent from their significatory features (319). those refrains can, in flip, endure a technique of changing into and deterritorialization. A chorus therefore reworked can harness its expressive strength to open territories to the surface, branching into new family and assemblages. 10 to talk of a chorus within the context of film models of Carmen, then, isn't really easily a question of opting for routine motifs. A chorus in film is an expressive aspect (in my interpretation, aesthetic, structural, or thematic) that serves to mark out a territory yet may possibly, while, resonate in ways in which extend or problem the parameters of that territory, or can even dismantle and take flight from these territorial barriers. Linda Hutcheon describes cultural and inventive variations utilizing either anthropological and organic terminology, types that intersect with Deleuze and Guattari’s philosophical venture in attention-grabbing methods. She speaks of variation in a single feel as a kind of “indigenization,” an “intercultural come across” wherein narratives are “nomads” that shuttle among cultural locales, transmogrifying at the foundation of the stipulations inside those moving territories, frequently forming new, hybrid varieties Dissonant Refrains eighty three of expression. eleven Hutcheon additionally conjures up theories of organic model to talk of approaches of “cultural selection,” which, just like the forces of usual choice, permit for propagation via a fancy dynamic “both conservative and dynamic . . . stabilizing and mutating,” continually on the subject of the transferring calls for of the exterior atmosphere (167). The expressive parts inside of Carmen’s a variety of iterations can be equally learn as forces that migrate among moving territories, occupying various positions when it comes to the codes and calls for they come upon, working every now and then to enhance and at others to withstand and rework. Viewing Godard’s paintings throughout the lens of the chorus offers a brand new technique of examining his expressive techniques. We see in Prénom Carmen the collision among exact territorialized parts, introduced right into a new symphonic assemblage. The intercutting of the string quartet’s rehearsals is in line with Godard’s greater physique of labor during which he many times highlights the technique of creation and the materiality of film.