par Nasta, Dominique 
;Bolduc-Cloutier, Hubert
Editeur scientifique Barham, Jeremy
Référence The Routledge Companion to Global Film Music in the Early Sound Era, Routledge, New York, Ed. 1
Publication Publié, 2024
;Bolduc-Cloutier, Hubert Editeur scientifique Barham, Jeremy
Référence The Routledge Companion to Global Film Music in the Early Sound Era, Routledge, New York, Ed. 1
Publication Publié, 2024
Partie d'ouvrage collectif
| Résumé : | In tune with radical changes in the pathos of 1930s French cinema, the oeuvre of Jean Grémillon (1901–59) meaningfully re-enacts the social setting of daily life and its often-tragic consequences. However, Grémillon’s aesthetics are based on a narrative architecture that contrasts with that of his contemporaries. In the wake of the complex musical perspective of Maldone (1927), the first two early sound films directed by Grémillon—La Petite Lise (1930) and Daïnah la Métisse (1932)—indeed play on an innovative use of music and sound far beyond their common use, correlating, opposing, or transforming the visual discourse. In this context, music presents itself as a key vector of the metaphoric and metonymic language, allowing Grémillon to translate the multiple dimensions of the characters’ environment and psychology by means of an unusually complex sonic architecture. |
