Concert and disconcertion: the music of relationality in the cinema of Claire Denis
- Publication date
- Publisher
Abstract
This thesis argues that the interest which the films of Claire Denis display in the
ever-shifting modes of relations between people is illustrated through analysis
of how music is used throughout her corpus of feature films. Denis draws on an
extremely eclectic palette of musical styles, and the thesis proposes that these
varying musical modalities are central to her treatment of relational issues, as
are the ways in which she deploys her chosen musical selections.
In this thesis, I develop a number of analytical tools. I draw on the thinking of
Jacques Rancière and Jean-Luc Nancy with regard to questions of relationality,
community and the dissensual elements which inform both interpersonal
relationships and artistic creativity. I adapt the work of Kathryn Lachman on
concepts of polyphony and counterpoint in literature for application to the
oeuvre of Denis, as I do the writings of Michel Chion on music in film, especially
his conceptualization of empathetic modes of cinematic music.
The thesis concludes that music in the work of Claire Denis operates in a mode
which diverges significantly from the tenets of existing film music theory. Music
in a Denis film is at the same time far more fragmentary and yet much more
thoroughly integrated than allowed for by standard conceptualizations. It plays
hand-in-hand with the challenges and invitations which are a feature of the
cinema of Denis