Film Music and the Director’s Aesthetics: Concerning the Methodology of Film Text Analysis

Yulia V. Mikheeva

Abstract


The article raises the question of the necessity of applying special and individualized approaches in analyzing the music of author’s cinematography. The traditionally basic trend of research of cinema music centers around functionally semantic analysis of cinematic works. However, in the movies of author-directors, music is frequently included in the polysemantic artistic space of a cinematic text in the broad sense of this concept as the assemblage of the text (the storyline narrative), the context, the subtext, the intertext, and the metatext of the cinema product. As a rule, analysis of the music of the author’s film is inseparable from the visual images and peculiarities of the other elements of the phonogram (speech, noises, sound effects, silence). In this context, the following concepts require demarcation: “film music,” “music of the film” and “the audiovisual solution of film.” The suggested approach, based on the principles of film director’s aesthetics, is expounded on the example of analysis of Robert Bresson’s film Une femme douce (A Gentle Woman). The movie is of special interest due to the fact that in it Bresson’s general ideas regarding the use of sound, including music, in film, are manifested to the fullest degree, including declarative utterances from the screen. In the case of Bresson, the principles of phenomenological aesthetics manifested in the director’s works, especially those from his mature periods, are of foundational significance. However, the general approaches towards analysis of music in author’s cinematography suggested in the present article may be extrapolated and applied in the research of the works of film directors who created cinema works on the basis of other and most diverse aesthetic principles.

Keywords: film music, audiovisual solution of a film, screen image, cinematic aesthetics, Robert Bresson, Feodor Dostoyevsky, screen adaptations of the novelette Une femme douce (A Gentle Woman)


Full Text:

PDF

References


Shak T. F. Muzyka v strukture mediateksta. Na materiale khudozhestvennogo i animatsionnogo kino [Music in the Structure of the Media Text. Based on the Material of Art and Animated Films]. St. Petersburg: Lan: Planeta muzyki, 2017. 384 p.

Shak T. F. About Timbre Techniques in Film Music V. Ovchinnikov. KANT: Social Sciences & Humanities. 2024. No. 1, pp. 120‒126. (In Russ.) https://doi.org/10.24923/2305-8757.2024-17.13

Kononenko N. Fil'm kak instrument muzykal'nogo mifotvorchestva. K istorii “muzykalistskogo” podkhoda v issledovaniyakh kinoiskusstva [Film as an Instrument of Musical Myth-making. To the History of “Musicalisme” in Film Studies]. Starye i novye media: formy, podkhody, tendentsii XXI veka [Old and New Media: Forms, Approaches, Trends of the 21st Century]. Moscow: Izdatel'skie resheniya, 2019, pp. 264–286.

Kononenko N. G. The Irony of Music Eventfullness in The Butterfly Hunt by O. Iosseliani. Art & Culture Studies. 2022. No. 4, pp. 428–457. (In Russ.) https://doi.org/10.51678/2226-0072-2022-4-428-457

Egorova T. K. Composers of the “Sixties” and Cinema: Results. Musicology. 2022. No. 3, pp. 12‒22. (In Russ.) https://doi.org/10.25791/musicology.3.2022.1239

Miroshkina A. F. A. Schnittke’s Film Music: Aspects of a Comprehensive Analysis. International Research Journal. 2023. No. 1. (In Russ.) https://doi.org/10.23670/IRJ.2023.127.102

Komarova A. A. Musical Quotation as a Semantic Factor in the Cinematic Texts of the 20th and 21st Centuries (by the Example of Johannes Brahms’ Rhapsody opus 79 No. 2). Problemy muzykal'noi nauki / Music Scholarship. 2020. No. 2, pp. 45–54. (In Russ.) https://doi.org/10.33779/2587-6341.2020.2.045-054

Sontag S. Spiritual Style in the Films of Robert Bresson. Against Interpretation and Other Essays. Moscow: Ad Marginem Press, 2014, pp. 190‒208. (In Russ.)

Schreder P. Transtsendental'nyi stil' v kino: Odzu, Bresson, Dreier (per. N. Tsyrkun) [Transcendental Style in Film: Ozu, Bresson, Dreyer (trans. by N. Tsyrkun)]. Kinovedcheskie zapiski [Film Studies Notes]. 1996/97. No. 32, pp. 182‒200.

Vinogradov V. V. Stilevye napravleniya frantsuzskogo kinematografa [Stylistic Directions of French Cinema]. Moscow: Kanon-plyus, 2010. 384 p.

Bresson R. Notes on Cinema. Rober Bresson. Materialy k retrospektive fil'mov. Dekabr' 1994 [Robert Bresson. Materials for the Film Retrospective. December 1994]. Moscow: Muzei kino, 1994, pp. 6‒43.

Bresson o Bressone [Bresson about Bresson]. Trans. S. Kozin. Moscow: Rosebud Publishing, 2017. 336 p.

Popov I. V. Interpretation Specifics of the Plot-Driven Imagery of Works from Russian Literature of the 19th Century in Robert Bresson’s Cinematographic Work. Human. Culture. Education. 2021. No. 4, pp. 126‒139. (In Russ.) https://doi.org/10.34130/2233-1277-2021-4-126

Rodin K. A. A Gentle Woman by Robert Bresson. ΠΡΑΞΗMA. Journal of Visual Semiotics. 2022. No. 2, pp. 190‒202. (In Russ.) https://doi.org/10.23951/2312-7899-2022-2-190-202




DOI: http://dx.doi.org/10.56620/2782-3598.2024.2.200-210

Refbacks

  • There are currently no refbacks.


Creative Commons License
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.