venerdì 27 febbraio 2009
giovedì 26 febbraio 2009
lunedì 23 febbraio 2009
mercoledì 18 febbraio 2009
GrindHouse : Finale anempaticamente ye-ye.
Finale anempatico di "GrindHouse. A prova di morte" di Quentin Tarantino: doppia cover di April March, della canzone ye-ye "Laisse Tomber Les Filles "di France Gall (composto da Serge Gainsbourg), prima in francese , poi in inglese (Chick Habit).
Laisse tomber les filles" is a French song composed by Serge Gainsbourg and performed by France Gall in 1964. April March recorded two covers of the song in 1995: one with the original French lyrics, and another, "Chick Habit," with English lyrics written by March. The song is also covered by Fabienne Delsol on her first solo album, No Time For Sorrows (2004).
The song's lyrics describe future disenchantment predicted by one possessed of "an innocent heart" (the vocalist), which was regarded as being completely at odds with the concerns expressed lyrically by other teenagers singing at the time. The lyrical complexity of the song, particularly when considered in light of its young performer, was not universally well-received. Gilles Verland wrote regarding this situation that
Gainsbourg's lyrics obviously have nothing to do with the worldview expressed by other teenage vocalists of the time; of course their world has its charms, but it has not a single atom of depth. In the lyrics of Gainsbourg's songs in general, and Laisse tomber les filles in particular, there is a startling lucidity coupled with a refusal to be taken in by "the great farce of love", defined in terms of "never" and "always". But, with Laisse tomber les filles, we are not presented with a male narrator of thirty or thirty-five years, but rather a teenager.
France Gall's vindictive lyrics are supported by the well-known jazz band led by Gogo (the same group with whom Gainsbourg was recording at the time). The song's emphasis on brass and percussion is regarded as being integral to its success. Fondness within the English-speaking world for the "French pop sound" makes the song continue to be popular to this day.
giovedì 12 febbraio 2009
E CHION RISPOSE.
Selon moi, dans tous les cas, qu'on parle de contrepoint ou d'anempathie, il y a interdépendance (et non indépendance) de la musique et de l'image, puisqu'ils sont deux éléments du film. La notion d'"indépendance" ne peut exister dans un film; tout ce qui est dans un lieu est "dépendant" du lieu, et réciproquement.
"Anempathie" et "contrepoint" dans certains cas se confondent, et correspondent aux mêmes exemples.
Je n'utilise pas à propos de la musique au cinéma l'expression de "contrepoint" , en raison de l'ambiguité de la notion.
Dans mon livre (traduit en italien) "Un art sonore, le cinéma", j'apporte des précisions supplémentaires.Tous mes voeux à vous et à vos professeurs.Bien cordialement."
mercoledì 11 febbraio 2009
OPEN LETTER TO MICHEL CHION
I am an Italian student. I am writing my thesis about the use of music in contrast with the image in movies.
I read your interesting books "Stanley kubrick:L'umano ne più ne meno" and "L'audiovisione, suono ed immagine nel cinema".
I am writing to you in order to solve a doubt about the meaning of "anempathic effect".
For instance, do you consider the music in "ClockWork Orange"("Singin' in the rain", "Gazza ladra..") an example of anempathic effect?
My professor states this because he considers your concept of anempathy in a wide way including not only an effect of indifference but even a contrast one.
According to this view, my professor considers Ejzenštejn "counterpoint" liken to anempathy. Vincenzo Ramaglia instead, in "Il suono e l'immagine", views the concepts of
counterpoint and anempathy as antithetical, as in the former the music depends on the image (paradoxically like empathy..), and in the latter the music is independent from the image.
I hope my question is enough clear.
I look forward to hearing your answer.
Thanks a lot.
Best regards.
Francesco Spè
