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Research Article

‘Le concerto pour Éclair et Nagra’: a sonic snapshot of Paris in Le Joli mai (1963)

Filmography

  • Chronique d’un été, 1961. Jean Rouch and Edgar Morin, France.
  • Description d’un combat, 1961. Chris Marker, Israel/France.
  • Dimanche à Pékin, 1956. Chris Marker, France.
  • Étoile sans lumière, 1946. Marcel Blistène, France.
  • Hiroshima mon amour, 1959. Alain Resnais, France/Japan.
  • Je t’aime, je t’aime/I Love You, I Love You, 1968. Alain Resnais, France.
  • Lettre de Sibérie, 1958. Chris Marker, France.
  • Le Joli mai, 1963. Chris Marker and Pierre Lhomme, France.
  • Loin du Viêt-nam, 1967. Joris Ivens, William Klein, Claude Lelouch, Agnès Varda, Jean-Luc Godard, Chris Marker, Alain Resnais, France.
  • Muriel ou le temps d’un retour, 1963. Alain Resnais, France/Italy.
  • Paris nous appartient, 1961. Jacques Rivette, France.
  • Les Portes de la nuit, 1946. Marcel Carné, France.
  • La Religieuse, 1966. Jacques Rivette, France.
  • Le Salaire de la peur, 1953. Henri-Georges Clouzot, France/Italy.
  • Sous le ciel de Paris, 1951. Julien Duvivier, France.
  • Sous les toits de Paris, 1930. René Clair, France.
  • Alter, N. 2006. Chris Marker. Urbana: University of Illinois Press.
  • Anderson, L. 2015. “Musique Concrète, French New Wave Cinema, and Jean Cocteau’s Le Testament d’Orphée (1960).” Twentieth-Century Music 12 (2): 197–224. doi:10.1017/S1478572215000031.
  • Anderson, L. 2018. “Musique Concrète for a New Wave Mystery.” Presentation at Royal Musical Association Annual Conference, University of Bristol, UK, September 6.
  • Barnier, M. 2008. “Chris Marker: le son, une bande à part.” In Chris Marker et l’imprimerie du regard, edited by A. Habib and V. Paci, 197–215. Paris: L’Harmattan.
  • Bonfanti, A. 1997. “Témoignage d’Antoine Bonfanti, ingénieur du son.” Positif 433: 92–93.
  • Braggs, R. K. 2016. Jazz Diasporas: Race, Music and Migration in Post-World War II Paris. Berkeley: University of California Press.
  • Brown, R. S. 1994. Overtones and Undertones: Reading Film Music. Berkeley: University of California Press.
  • Chapman, H. 2018. France’s Long Reconstruction: In Search of the Modern Republic. Cambridge: Harvard University Press.
  • Conway, K. 2004. Chanteuse in the City: The Realist Singer in French Cinema. Berkeley: University of California Press.
  • Cooke, M. 2008. A History of Film Music. Cambridge: Cambridge University Press.
  • Drott, E. 2009. “The Politics of Presque Rien.” In Sound Commitments: Avant-Garde Music and the Sixties, edited by R. Adlington, 145–164. New York: Oxford University Press.
  • Fonds Sadoul. “Fonds Georges Sadoul, Paris Cinémathèque, Cote: SADOUL733-B52, Titre: Cinéma-vérité [R.T.F.: Journées d’études MIPE-TV - Lyon 1963].” Accessed May 2018.
  • Goldman, J. 2015. “Cultural and Generational Querelles in the Musical Domain: Music from the Second World War.” In The Cambridge Companion to French Music, edited by S. Trezise, 180–198. Cambridge: Cambridge University Press.
  • Gorbman, C. 1987. Unheard Melodies: Narrative Film Music. Bloomington: Indiana University Press.
  • Hayward, S. 2005. French National Cinema. 2nd ed. New York: Routledge.
  • Kulezic-Wilson, D. 2016. “Musically Conceived Sound Design, Musicalization of Speech and the Breakdown of Film Soundtrack Hierarchy.” In The Palgrave Handbook of Sound Design and Music in Screen Media: Integrated Soundtracks, edited by L. Greene and D. Kulezic-Wilson, 429–444. Basingstoke: Palgrave Macmillan.
  • Kulezic-Wilson, D. 2018. “Sound Design and Its Interactions with Music: Changing Historical Perspectives.” In The Routledge Companion to Screen Music and Sound, edited by M. Mera, R. H. Sadoff, and B. Winters, 127–138. New York: Routledge.
  • Kulezic-Wilson, D. 2020. Sound Design Is the New Score: Theory, Aesthetics, and Erotics of the Integrated Soundtrack. New York: Oxford University Press.
  • Lacombe, A., and F. Porcile. 1995. Les Musiques du cinéma français. Paris: Bordas.
  • Langlois, P. 2012. Les Cloches d’Atlantis: Musique électroacoustique et cinéma archéologie et histoire d’un art sonore. Paris: Éditions MF.
  • Lupton, C. 2005. Chris Marker: Memories of the Future. London: Reaktion Books.
  • Marker, C. 1949. Le Cœur net. Paris: Éditions de Seuil.
  • Marker, C. 2003a. “Marker Direct: An Interview with Chris Marker.” Libération, March 5. Reprinted in Film Comment May/June 2003. Accessed 15 February 2019. https://www.filmcomment.com/article/marker-direct-an-interview-with-chris-marker/
  • Marker, C. 2003b. “Tribute to Antoine Bonfanti.” Cinémathèque Corse, October 29.
  • Mauriac, C. 1963. “Le Cinéma: Qu’est-ce que le cinéma-vérité.” Le Figaro littéraire, August 17. Cinémathèque newspaper clipping.
  • McMahon, O. D. 2014. Listening to the French New Wave: The Film Music and Composers of French Postwar Cinema. Oxford: Peter Lang.
  • McMahon, O. D. 2015. “Reinventing the Documentary: The Early Essay Film Soundtracks of Chris Marker.” In Music and Sound in Documentary Film, edited by H. Rogers, 86–103. New York: Routledge.
  • Monro, G. 2018. Michel Legrand, sans demi-mesure. Production/Diffusion: Cinétévé, ARTE France. Documentary broadcast on ARTE December 28.
  • Montand, Y. 2016. Montand par Montand: Confidences et entretiens présentés par Carole Amiel. Paris: Nouveau Monde éditions.
  • Nichols, B. 1991. Representing Reality: Issues and Concepts in Documentary. Bloomington: Indiana University Press.
  • Ondaatje, M. 2002. The Conversations: Walter Murch and the Art of Editing Film. London: Bloomsbury.
  • Phillips, A., and G. Vincendeau. 2018. “Introduction.” In Paris in the Cinema: Beyond the Flâneur, edited by A. Phillips and G. Vincendeau, 1–13. London: BFI/Palgrave.
  • Pillard, T. 2018. “Working-class Paris and Post-war Noir: Les Portes De La Nuit.” In Paris in the Cinema: Beyond the Flâneur, edited by A. Phillips and G. Vincendeau, 26–34. London: BFI/Palgrave.
  • Porton, R., and S. Flitterman-Lewis. 2013. “Passionate Cinematography: An Interview with Pierre Lhomme.” Cinéaste 39 (1): 10–15.
  • Powrie, P. 2006. “The Fabulous Destiny of the Accordion in French Cinema.” In Changing Tunes: The Use of Pre-Existing Music in Cinema, edited by P. Powrie and R. Stilwell, 137–151. Aldershot: Ashgate.
  • Rifkin, A. 1993. Street Noises: Parisian Pleasure, 1900–40. Manchester: Manchester University Press.
  • Rogers, H., ed. 2015. Music and Sound in Documentary Film. New York: Routledge.
  • Rowekamp, J. 2019. “See the Eiffel Tower, Hear an Accordion: Examining the ‘French’ Sound in Ratatouille (2007), Julie and Julia (2009) and Hugo (2011).” Paper presented at the Music and the Moving Image conference, New York University, New York, June 1.
  • Schaeffer, P. 1952. À la recherche d’une musique concrète. Paris: Éditions du Seuil.
  • Williams, A. 1985. “Godard’s Use of Sound.” In Film Sound: Theory and Practice, edited by E. Weis and J. Belton, 332–345. New York: Columbia University Press.

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