Music in French cinema

Filmography

• 8 femmes, 2002. François Ozon, France/Italy.
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• Angel, 2007. François Ozon, UK/Belgium/France.
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• Les Années 80, 1983. Chantal Akerman, Belgium/France.
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• L’Atalante, 1934. Jean Vigo, France.
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• Bande de filles, 2014. Céline Sciamma, France.
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• La Chienne, 1931. Jean Renoir, France.
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• Confidences trop intimes, 2004. Patrice Leconte, France.
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• De battre mon cœur s’est arrêté, 2005. Jacques Audiard, France.
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• Divines, 2016. Houda Benyamina, France/Qatar.
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• L’Enfer, 2005. Danis Tanovic, France/Italy/Belgium/Japan.
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• Golden Eighties, 1986. Chantal Akerman, France/Belgium/Switzerland.
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• Le Joli mai, 1963. Chris Marker, France.
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• La Naissance des pieuvres, 2007. Céline Sciamma, France.
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• Nid de guèpes, 2002. Florent Emilio-Siri, France.
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• Pépé le Moko, 1937. Jacques Duvivier, France.
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• Prénom Carmen, 1983. Jean-Luc Godard, France.
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• Le Quatorze Juillet, 1932. René Clair, France.
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• Rear Window, 1954. Alfred Hitchcock, USA.
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• La Règle du jeu, 1939. Jean Renoir, France.
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• Sous les toits de Paris, 1930, René Clair, France.
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• Sur mes lèvres, 2001. Jacques Audiard, France.
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• Swagger, 2016. Olivier Babinet, France.
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• Swimming Pool, 2003. François Ozon, France/UK.
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• Tomboy, 2011. Céline Sciamma, France.
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• Trois Strophes sur le nom de Sacher, 1989. Chantal Akerman, France.
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• Zéro de conduite, 1933. Jean Vigo, France.
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• Abhervé, S., N. T. Binh, and J. Moure, eds. 2014. Musiques de films, nouveaux enjeux: Rencontres sensibles entre deux arts. Bruxelles: les Impressions nouvelles.
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• Albera, F. 2002. “Improvisation et technique: Arthur Honegger et Rapt.” 1895. Mille huit cent quatre-vingt-quinze 38: 1–2.
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• Berthomieu, P. 2004. La Musique de film. Paris: Klincksieck.
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• Brown, R. S. 1994. Overtones and Undertones: Reading Film Music. Berkeley: University of California Press.
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• Buhler, J., C. Flinn, and D. Neumeyer, eds. 2000. Music in Cinema. Middletown: Wesleyan University Press.
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• Carayol, C. 2014. Une musique pour l'image: vers un symphonisme intimiste dans le cinéma français. Rennes: Presses universitaires de Rennes.
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• Chevalier, K. 2016. “Le cinéma français face à la violence: du New French Extremism à une violence intériorisée.” Modern & Contemporary France 24 (4): 411–425. doi:10.1080/09639489.2016.1218450.
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• Chion, M. 1982. La Voix au cinéma. Paris: Éditions de l’Étoile.
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• Chion, M. 1985. Le Son au cinéma. Paris: Éditions de l’Étoile.
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• Chion, M. 1988. La Toile trouée: la parole au cinéma. Paris: Éditions de l’Étoile.
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• Chion, M. 1990. L’Audio-vision: son et image au cinéma. Paris: Nathan.
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• Chion, M. 1992. Le Son au cinéma. Revised ed. Paris: Éditions du Seuil.
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• Chion, M. 1994. Audio-vision: Sound on Screen. New York: Columbia University Press.
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• Chion, M. 1995. La Musique au cinéma. Paris: Fayard.
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• Chion, M. 1999. The Voice in Cinema. New York: Columbia University Press.
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• Chion, M. 2000. Le Son. Paris: Nathan.
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• Chion, M. 2002. La Comédie musicale. Paris: Cahiers du cinéma.
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• Chion, M. 2003. Un art sonore, le cinéma: Histoire, esthétique, poétique. Paris: Cahiers du cinéma.
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• Cohan, S., ed. 2010. The Sound of Musicals. London: BFI/Palgrave Macmillan.
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• Conway, K. 2004. Chanteuse in the City. The Realist Singer in French Film. Berkeley: University of California Press.
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• Cooke, M. 2008. A History of Film Music. Cambridge: Cambridge University Press.
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• Cooke, M. 2010. The Hollywood Film Music Reader. Oxford: Oxford University Press.
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• Donnelly, K. J., ed. 2001. Film Music: Critical Approaches. New York: Continuum.
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• Dufays, S., D. Nasta, and M. Caladanu, eds. 2018. Connaît-on la chanson? Usages de la chanson dans les cinémas d’Europe et d’Amérique Latine depuis 1960. Bruxelles: Peter Lang.
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• Duschinsky, R. 2018. “Schizoid Femininities and Interstitial Spaces: Childhood and Gender in Celine Sciamma’s Tomboy and P.J. Hogan’s Peter Pan.” Diogenes 62 (1): 128–140. doi:10.1177/0392192116666994.
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• Faulkner, C. 2011. “Musical Automata, La Règle du jeu, and the Cinema.” South Central Review 28 (3): 6–25. doi:10.1353/scr.2011.0027.
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• Flinn, C. 1992. Strains of Utopia: Gender, Nostalgia, and Hollywood Film Music. Princeton: Princeton University Press.
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• Gorbman, C. 1987. Unheard Melodies: Narrative Film Music. Bloomington: Indiana University Press.
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• Handyside, F. 2016. “Emotion, Girlhood and Music in La Naissance des pieuvres and Un amour de jeunesse.” In International Cinema and the Girl, edited by F. Handyside and K. Taylor-Jones, 121–133. Basingstoke: Macmillan.
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• Herzog, A. 2009. Dreams of Difference, Songs of the Same: The Musical Moment in Film. Minneapolis: University of Minnesota Press.
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• Jonet, M. C. 2017. “Desire and Queer Adolescence: Céline Sciamma’s Naissance des Pieuvres.” Journal of Popular Culture 50 (5): 1127–1142. doi:10.1111/jpcu.12596.
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• Jousse, T., and N. Saada. 1995. Musiques au cinéma. Paris: Cahiers du cinema.
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• Kalinak, K. 1992. Settling the Score: Music and the Classical Hollywood Film. Madison: University of Wisconsin Press.
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• Kassabian, A. 2001. Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music. New York: Routledge.
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• Lacombe, A., and F. Porcile. 1995. Les Musiques du cinema français. Paris: Bordas.
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• Lagabrielle, R., and T. Obergöker, eds. 2016. La Chanson dans le film francais et francophone depuis la Nouvelle Vague. Würzburg: Königshausen & Neumann.
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• Lewis, H. 2015. “The Music Has Something to Say”: The Musical Revisions of L’Atalante (1934).” Journal of the American Musicological Society 68 (3): 559–603. doi:10.1525/jams.2015.68.3.559.
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• Lewis, H. 2018. French Musical Culture and the Coming of Sound Cinema. Oxford: Oxford University Press.
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• Lindner, K. 2018. “Céline Sciamma’s ‘Queer’ Cinema: Affirming Gestures of Refusal in Tomboy and Girlhood.” In Film Bodies: Queer Feminist Encounters with Gender and Sexuality in Cinema, edited by K. Lindner, 194–245. London: I.B.Tauris.
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• Masson, M.-N., and G. Mouëllic, eds. 2003. Musiques et images au cinema. Rennes: Presses universitaires de Rennes.
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• McMahon, O. D. 2014. Listening to the French New Wave: The Film Music and Composers of Postwar French Art Cinema. Oxford: Peter Lang.
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