Abstract
This article offers a new reading of the significance of the soundtrack in Jean-Luc Godard’s Sauve qui peut (la vie)/Slow Motion. It concentrates on the organization of music and the ways in which the often-neglected audio arrangement constitutes an essential part of this film’s structure, content and form. In a series of close readings, the interaction between Gabriel Yared’s electronic theme music and an extract from an operatic aria are brought to the fore and the study culminates in a discussion of the famous diegetic musical passage in the closing tracking sequence. This article draws upon Pierre Schaeffer’s early essay on the relay-arts to investigate the key notion of acousmatic sound in this film, in which the listening body and the process of listening come under the spotlight.
Original language | English |
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Pages (from-to) | 19-32 |
Number of pages | 13 |
Journal | Studies in French Cinema |
Volume | 14 |
Issue number | 1 |
DOIs | |
Publication status | Published - 5 Mar 2014 |
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Dive into the research topics of 'Constructing voices in Jean-Luc Godard’s Sauve qui peut (la vie) (1979)'. Together they form a unique fingerprint.Prizes
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R. Gapper Postgraduate Essay Prize 2012
Fox, A. (Recipient), 2012
Prize: Prizes, Medals, Awards and Grants
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