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Keywords: analyse, histoire, méthodologie, musique de film, théorie, analysis, film music, history, methodology, theory
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Claiming lineage with composers of the Golden Age of Hollywood and applying similar ideas regarding the place and role of music in film, John Williams is often portrayed in specialized literature as the direct heir of the pioneers of this style.While studies of John Williams' scores often focus on synchronism, it is, however, interesting to analyze the processes that create a distance between music and image. This study of Jurassic Park, a score that has yet to be subject to in-depth musicological research, explores Williams' contribution and originality vis-à-vis previous practices of contrapuntal relationships between music and film. This approach questions the dominant discourse on a contemporary composer.Indeed, a meticulous analysis of the Jurassic Park score brings to light a gap between the common opinion and the actual practice of the composer. Williams does not merely perpetuate the types of discrepancies between music and images used by the pioneers of the Classical Hollywood style, he also broadens them and re-evaluates their use. Furthermore, certain types of disassociations appear to be specific to the composer. In some scenes, Williams reinforces the discontinuity of the editing to highlight a sudden dramatic change. A distance is also created between the music on the one hand, and the dialogue, the characters' reactions and visual references on the other hand. The score departs from the “100 percent musical” style and makes important room for silence, since the music is absent during moments when the scoring is traditionally more predictable. Finally, Williams moves away from Classical Hollywood practices by addressing death in a relatively unexpected and personal way. His music moderates the perception of a happy ending by enshrouding the final shots in a sad and melancholic veil.