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Music in Contemporary French Cinema

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Abstract

This chapter explores pre-existing songs as groundwork for the concept of the crystal-song. It gives an account of French academic work in this field by Jean-Claude Klein and Louis-Jean Calvet and Jérôme Rossi on song taxonomies, Gilles Mouëllic on enigmatic performance and cristallisation, and Laurent Bossu on music as “intoxication” and as “drowning.” It accounts for the increasing dominance of English-language songs. Using Svetlana Boym’s work on nostalgia, it shows how French-language songs are frequently used to create nostalgia related to issues of loss, so that such songs can be called “sounds of memory,” echoing Pierre Nora’s work on memory spaces (lieux de mémoire).

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Notes

  1. 1.

    “Many films appear as though they emanate from a tune we hear in the credits sequence, embedded as if it were the primal nucleus.”

  2. 2.

    “The briefest musical form–such as a song with couplets and refrain–can thus in a very short time take on the figure of a destiny, the shape of a story and can act like one of those glass balls that reflect the whole room when you hold them in your hand.”

  3. 3.

    “Be Good, Beautiful Stranger.”

  4. 4.

    “This passage presents a ‘crystal’ of space-time. Effectively, this street-song brings together a number of moments, as well as a number of spaces: interior and exterior, high and low.”

  5. 5.

    “A performance that spills over towards an unforeseeable event that emerges from that performance.”

  6. 6.

    I am referring here to Geoffrey Nowell-Smith’s work: “The laying out of the problems ‘realistically’ always allows for the generating of an excess which cannot be accommodated…The undischarged emotion which cannot be accommodated within the action, subordinated as it is to the demands of family/lineage/inheritance, is traditionally expressed in the music and, in the case of film, in certain elements of the mise en scène. That is to say, music and mise en scène do not just heighten the emotionality of an element of the action: to some extent they substitute for it…It is not just that the characters are often prone to hysteria, but that the film itself somatises its own unaccommodated excess, which thus appears displaced…Often, the ‘hysterical’ moment of the text can be identified as the point at which the realist representative convention breaks down (1977, 117).

  7. 7.

    “An excess of gestures that is not without meaning but whose meaning is not premeditated…moments of excess or discomfort that can displace the meaning of a film, as if imposing an enigma.”

  8. 8.

    “A third way that functions like a way out of the crystal in which they were bogged down.”

  9. 9.

    “Disrupt the surrounding continuity on the thematic and formal levels, bringing about a (double) gapping in the body of the plot.”

  10. 10.

    “An aesthetics of rupture.”

  11. 11.

    “The visual is refreshed by its contact with these unusual bodies functioning as nodal points with their propulsion into a new and completely original space-time: music makes the components of the image vibrate before it takes the image over completely, throwing its forms and textures into a kind of panic.”

  12. 12.

    “Time that is finally experienced as absolutely lyrical, freed of the gravity that it depends on elsewhere.”

  13. 13.

    “The singular musical moments associated with intoxication in the first instance let us feel everything that has not yet happened…implanting themselves in the middle of the universe that is all around them…an effective representation of a moment around which the whole work can sometimes circle…They are less about…what the film is not, and more about what we would like it to be, through what happens in that musical passage.”

  14. 14.

    “A turning point…It opens up a horizon, offers a way out to characters lost in their story.”

  15. 15.

    See http://www.officialcharts.com/charts/singles-chart/20140831/7501/, accessed 9 April 2016.

  16. 16.

    “We’re going to change the atmosphere to celebrate this.”

  17. 17.

    See also my comments on Comme t’y es belle and Les Petits Mouchoirs in Powrie 2014, 535–536.

  18. 18.

    Others from the sample that have a French singer singing an English song over the final credits are: La Stratégie de la poussette (2013), Camelia Jordana, “Bibi’s Hit”; Des morceaux de moi (2013), Anna Chalon, “Fix Me”; Une mère (2015), Bless, “No Man’s Land.”

  19. 19.

    Those with a specially composed title song are: 9 mois ferme (2013), Arrête ou je continue (2014), Je suis à vous tout de suite (2015), Salaud, on t’aime (2014), Tu veux ou tu veux pas (2014).

  20. 20.

    “You’re the Only One.”

  21. 21.

    Avant l’hiver (2013), Des lendemains qui chantent (2014), L’Écume des jours (2013), La Guerre des boutons (2011), Tu seras mon fils (2011).

  22. 22.

    Du vent dans mes mollets (2012), Jeune & jolie (2013), Populaire (2012), Terre battue (2014), Tout ce qui brille (2010), Une chanson pour ma mère (2013; although in this case the song was originally sung by Dave, but it is the contemporary Dave who performs it in the film).

  23. 23.

    “My Childhood,” “I’m Ten Years Old.”

  24. 24.

    “But Love Her.”

  25. 25.

    “A complete reworking, electro and elegant, of well-known songs from the 50s and 60s.” http://loane-music.tumblr.com/biography, accessed 22 April 2016.

  26. 26.

    “Like a Little Poppy.”

  27. 27.

    “You don’t want to fuck me?/Why do say such ugly things?”

  28. 28.

    “Song About a Funny Life.”

  29. 29.

    “Life is Beautiful.”

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  1. University of Surrey, Guildford, Surrey, United Kingdom

    Phil Powrie

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Powrie, P. (2017). Time. In: Music in Contemporary French Cinema . Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-52362-0_5

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