Literatura académica sobre el tema "Musique et cinéma"
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Artículos de revistas sobre el tema "Musique et cinéma":
Duchesneau, Michel. "Charles Koechlin et l’amour des stars. L’acteur et son jeu comme moteur expressif d’une musique de cinéma idéale". Cinémas 25, n.º 1 (5 de mayo de 2015): 85–107. http://dx.doi.org/10.7202/1030231ar.
Lavoie, Mathieu. "La genèse d’une reconnaissance réfléchie de la musique de film au Québec : le Prix Jutra". Articles 30, n.º 2 (18 de noviembre de 2011): 41–60. http://dx.doi.org/10.7202/1006377ar.
Langlois, Philippe. "Musique contemporaine et cinéma : panorama d’un territoire sans frontières". Circuit 26, n.º 3 (23 de diciembre de 2016): 11–25. http://dx.doi.org/10.7202/1038514ar.
Hébert, Pierre. "Musicalité ou oralité? (Réflexions d’un cinéaste qui voulait « faire comme un musicien »)". Cinémas 3, n.º 1 (8 de marzo de 2011): 43–63. http://dx.doi.org/10.7202/1001179ar.
Loyez, Marie Eve. "Rendre le monde à sa musique. La musique comme puissance d’émerveillement dans le cinéma de Johan van der Keuken". Revue musicale OICRM 5, n.º 1 (9 de abril de 2018): 121–42. http://dx.doi.org/10.7202/1044447ar.
Huvet, Chloé. "La Musicologie du cinéma : enjeux disciplinaires et problèmes méthodologiques". Articles 36, n.º 1 (16 de marzo de 2018): 53–84. http://dx.doi.org/10.7202/1043868ar.
Sirois-Trahan, Jean-Pierre. "Phonographie, cinéma et musique rock. Autour d’un impensé théorique chez Walter Benjamin". Cinémas 24, n.º 1 (26 de febrero de 2014): 103–30. http://dx.doi.org/10.7202/1023112ar.
Duchesneau, Michel. "Montréal/Nouvelles Musiques : perspectives". Circuit 14, n.º 2 (15 de febrero de 2010): 9–22. http://dx.doi.org/10.7202/902308ar.
Desjardins, Luc. "Cinéma structurel et musique répétitive : correspondances". Cinémas 9, n.º 2-3 (26 de octubre de 2007): 219–31. http://dx.doi.org/10.7202/024795ar.
Dallaire, Frédéric. "Son organisé, partition sonore, ordre musical : la pensée et la pratique cinématographiques d’Edgard Varèse et de Michel Fano". Articles 33, n.º 1 (12 de junio de 2014): 65–81. http://dx.doi.org/10.7202/1025556ar.
Tesis sobre el tema "Musique et cinéma":
Mari, Jean-Claude. "Une nouvelle esthétique sonore et musicale dans le cinéma moderne : Michel Fano et l'avènement du filmusique". Paris 8, 1997. http://www.theses.fr/1997PA081363.
Chanudaud, Stéphane. "La musique de cinéma française, européenne et américaine : de l'avènement du cinéma parlant aux années de l'âge d'or". Aix-Marseille 1, 2003. http://www.theses.fr/2003AIX10055.
Dastugue, Gérard. "Le corps du cinéma : musique de film et réception spectatorielle dans le cinéma hollywoodien classique". Toulouse 2, 2004. http://www.theses.fr/2004TOU20013.
Among the numerous legends that made cinema history, the usual idea that film music was created to cover a noisy projector is deeply anchored in film analysis. The prejudice idea that film music should not be heard is equally widespread. However, from the silent period, the musical accompaniment represented not only a way to make a flatering editing fluent but also to arouse in the audience the awaited emotional response. D. W. Griffith was to be the first to use music as a conversion theme as well as a conversion way before The Jazz Singer in 1927 led the production towards talking pictures. Then Hollywod became the kingdom of "major companies" and gave film music an efficient production system. The sound of Hollywood welds together several parameters as far as human, social, historical and musical dimensions are concerned. Our thesis tries to put into relief the influence of film music upon the audience's emotions. It focuses on some films and genres of the classical Hollywood period (1930-1960)
Guermazi, Amal. "La musique dans le cinéma de Youssef Chahine : spécificités et fonctions". Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL009.
Although prominent, music in Chahine's cinema has still not been the focus of any in-depth musicological study. For the first time to the best of our knowledge, and at the crossroads of History, Cinema and Musicology, this thesis aims at revealing the very specificities and functions of music in the filmmaker’s work.First, the study provides a historical contextualization of music in Egyptian cinema during the first half of the 20th century. It shows the close relationship between film and song ever since the introduction of talking pictures to the country. Second, the director's own career-path is revisited in light of his most significant musical films. Four founding periods are identified and summarized in the following eras: pure entertainment, political engagement, conciliation and finally festive criticism. In this last stage, we unveil how Chahine redefines the codes of the Arab musical film with a music that embodies in itself a socio-political discourse.Thanks to the new archives kept at the Cinémathèque française, we can immerse ourselves at the heart of a music-driven film making process. Noting the influences of the director, understanding his intentions and aspirations will eventually allow us to better seize the Chahinian universe
Carayol, Cécile. "Un langage musical spécifique au cinéma : du modèle américain à l'émergence d'une nouvelle forme de symphonisme dans le cinéma français contemporain". Rennes 2, 2011. http://www.theses.fr/2011REN20002.
The existence of a specific musical language in the cinema is put in perspective by the study of two forms of symphonisms – the rehabilitation of the American model and the « intimist symphonism » in the French contemporary features films since the end of the 1990s. The analysis of the scores composed for Angel and Huit femmes shows a return to the tradition of the American melodramas of the 1930s, 1940s and 1950s. Through the dimensions – epic, lyric and fantastic – present in movies such as Les rivières pourpres, Nid de guêpes, Joyeux Noël or Jeux d’enfants, we notice an assimilation of the musical characteristics of neo-hollywoodism. Besides, the emergence of a new form of symphonism observed in scores such as Swimming Pool, Sous le sable, Sur mes lèvres, De battre mon cœur s’est arrêté, Confidences trop intimes or Hell expresses itself by a symphonic orchestration that privileges the “transparency” of the instrumental color, a restrained lyricism and develops an emotional empathy with the action of the movie by avoiding a descriptive synchronization. The appropriation of the characteristics coming from the minimalism and impressionism intensifies the concision and the working drawing of this symphonism. This musicological approach allows to clarify the way the original symphonic music is outlined in the beginning of twenty-first century and how, in the eyes of what preexist in the history of the French cinema, it distinguishes itself
Bossu, Laurent. ""Passages" de la musique dans le cinéma contemporain de fiction : nouvelles fonctions, nouvelles formes". Paris 1, 2005. http://www.theses.fr/2005PA010628.
Godebarge, Jean-Pierre. "Straub-films ou la musicalité filmique : Bach, Schoenberg et le principe musical dans la création cinématographique straubienne". Paris 3, 1992. http://www.theses.fr/1993PA030080.
Until now, visual approach has been privilegied in cinema , fonorous description makes the music depend on indefined scoring. But they also consider the musical fonction only as a hypostasis of the visual organization in film's frame. We are traying to suggest another trial based on some production choosed among straub j. M. And huillet d. 's movies : straubien films space is based on some acoustical and cimbined principals whichs appear from the composition
Bloch-Robin, Marianne. "Théorie et pratique de la musique vocale au cinéma : l’œuvre de Carlos Saura". Thesis, Paris Est, 2011. http://www.theses.fr/2011PEST0034.
The purpose of this thesis is the study of the aesthetic and narrative function of vocal music in the non musical work of fiction of the Spanish filmmaker Carlos Saura. The role of vocal music in his films is indeed of central importance and not largely studied. In the first part we have analyzed the evolution of the use of music in works done during the half of the century, which embraced the filmography of the Aragonese filmmaker. We have also been able to put very prominently, a strong authorial affirmation by means of a restricted control of musical choices and different collaborations with composers of original music. The characterization of songs text used, enabled us to identify a corpus of twenty-two vocal works, which constituted the core of our study. In the second part, we studied the specific role of vocal music through its influence on the order, the time and space of the narrative. Vocal works can, in effect, constitute a spatial transition and temporal tool functioning as an analepsis or a prolepsis or again being considered as a narrative level on its own. In the third part, we viewed vocal music from an angle of quotation and a viewpoint which enables to reveal: that of the characters first. Subsequently, considering vocal music in its transtextual dimension, we have studied the universalizing and external viewpoint that it vehicles. Finally, we have noticed that vocal songs can also reveal the intention of the filmic enunciator
Lecompte, Rémi. "La représentation de la musique dans le cinéma de fiction : L'exemple de la musique diégétique dans le cinéma français des années 1960". Thesis, Tours, 2014. http://www.theses.fr/2014TOUR2032/document.
Through the analysis of more than a four hundred movies collection, directed in the early years of the Fifth Republic (1958-1968), this thesis studies the representations of music aiming to report the wholeness of the musical fact, from the listener to the musician, including both human and material intermediaries. This study is devoted to the observation of one of the modality of music witch is the diegetic one, meaning the music that characters are either listening and/or making inside the story. These représentations are considered in their numerous aspects : visual – the image of music –, sound – the music itself –, linguistic – the speech about music. To the variousness of the chosen movies (from popular cinema to arthouse cinema) answers the variety of music carried by movies in this decade, where jazz, popular music and classical music are crossing paths
Guadalupe, Silveira Carlos Henrique. "La musique de film : introduction à l’étude des attentes musico-filmiques du spectateur". Thesis, Lyon 2, 2013. http://www.theses.fr/2013LYO20059/document.
Throughout our lives, we acquire (sometimes involuntary or even unconsciously) knowledge about our environment, and we retain in particular its regularities. These regularities are learned, stored as knowledge and will subsequently allow creating expectations that will facilitate the cognitive processing of the environmental information. Hence, via this process, the analysis of an expected event becomes faster and more accurate than that of an unexpected event. Based on David Huron's “musical expectation” theory, we propose to investigate, and develop a theory of “expectations about associations between the film and the music”. The aim of our thesis is to discuss the basic concepts of how film music can create particular expectations in relation to the narration of the film for viewers and how this affects the way they perceive the film and interpret the movie
Libros sobre el tema "Musique et cinéma":
Cano, Cristina. La musique au cinéma. Rome: Gremese, 2010.
Miliani, Hadj. Productions et réceptions culturelles: Littérature, musique et cinéma. Oran, Algérie: Editions CRASC, 2016.
Schifrin, Lalo. Lalo Schifrin: Entretiens sur la musique, le cinéma et la musique de cinéma. Pertuis: Rouge profond, 2005.
Guiraud, Bernard. La musique au cinéma et dans l'audiovisuel. Nice: Baie des anges, 2014.
Bloch-Robin, Marianne. Carlos Saura: Paroles et musique au cinéma. Villeneuve d'Ascq: Presses universitaires du Septentrion, 2018.
André, Emmanuelle. Esthétique du motif: Cinéma, musique, peinture. Paris: Presses Universitaires de Vincennes, 2007.
Sojcher, Frédéric, N. T. Binh y José Moure. Cinéma et musique, accords parfaits: Dialogues avec des compositeurs et des cinéastes. Bruxelles]: Les Impressions Nouvelles, 2014.
Chion, Michel. L' audio-vision. Paris: Nathan, 1990.
C, Andersen M. y Université d'Angers. Département de lettres modernes et classiques., eds. 31 études critiques: (littérature francaise et étrangère musique, cinéma, peinture). Angers: Universite d'Angers, 1993.
Langlois, Philippe. Les cloches d'Atlantis: Musique électroacoustique et cinéma : archéologie et histoire d'un art sonore. [Paris]: MF, 2012.
Capítulos de libros sobre el tema "Musique et cinéma":
Gorbman, Claudia. "La musique vardienne". En Agnès Varda : le cinéma et au-delà, 71–78. Presses universitaires de Rennes, 2009. http://dx.doi.org/10.4000/books.pur.1745.
Sipière, Dominique. "Musique et cinéma : une boîte à outils". En Les autres arts dans l'art du cinéma, 95–99. Presses universitaires de Rennes, 2007. http://dx.doi.org/10.4000/books.pur.739.
Bignell, Jonathan. "Masculinité, musique et politique dans Excalibur". En Les autres arts dans l'art du cinéma, 141–51. Presses universitaires de Rennes, 2007. http://dx.doi.org/10.4000/books.pur.745.
Gailleurd, Céline. "Creuser le temps, vider l’espace ET construire « un escalier de vertige » - Voyage(s) en Utopie (2006) et Notre Musique (2004)". En Le cinéma, et après ?, 73–78. Presses universitaires de Rennes, 2010. http://dx.doi.org/10.4000/books.pur.1968.
DELTORN, Jean-Marc. "L’artiste et l’automate". En Algorithmes et Société, 129–38. Editions des archives contemporaines, 2021. http://dx.doi.org/10.17184/eac.4549.
Beffa, Karol. "La musique du dix-huitième siècle et les accompagnements au cinéma". En Par volonté et par hasard, 167–80. Éditions de la Sorbonne, 2018. http://dx.doi.org/10.4000/books.psorbonne.105145.
Stokes, Melvyn. "La musique et l’« Art » dans les premiers films américains". En Les autres arts dans l'art du cinéma, 101–16. Presses universitaires de Rennes, 2007. http://dx.doi.org/10.4000/books.pur.740.
Lengyel, David. "Plaidoyer pour un cinéma diachronique : De Éloge de l’amour à Notre musique de Jean-Luc Godard". En La présence : discours et voix, image et représentations, 231–44. Presses universitaires de Rennes, 2016. http://dx.doi.org/10.4000/books.pur.176602.
Kopeleva, Galina. "La civilisation française dans le cadre des événements culturels étudiants à l’Institut de la culture d’État de Saint-Pétersbourg". En Quelles compétences en langues, littératures et cultures étrangères ?, 41–50. Editions des archives contemporaines, 2021. http://dx.doi.org/10.17184/eac.3880.
Chimenes, Myriam. "La Vie Musicale Sous Vichy, 1940-1944". En Musicology And Sister Disciplines Past,Present,Future, 541–43. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198167341.003.0078.
Actas de conferencias sobre el tema "Musique et cinéma":
Marty, Laurent. "Cinéma muet et musique, Héroïsation et érotisation du geste musical". En Figure(s) du musicien. Corps, gestes, instruments en texte. Fabula, 2016. http://dx.doi.org/10.58282/colloques.4047.