Deleuzian sensation and Maurice Jaubert's score for L'Atalante
Studies in French Cinema
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In this article I advance a new methodology for the analysis of film music, one which uses philosophical concepts drawn from the work of Gilles Deleuze as a way to create a dialogue between music and film theories. The practical application of this will be the analysis of Maurice Jaubert's score for Jean Vigo's L'Atalante. I will suggest that while film music is often understood as sound, it is best perhaps understood as pure sensation, a concept that Deleuze puts forth in his study of the painter Francis Bacon. In this work, Deleuze draws from biology, by which he means the establishment of precognitive meaning. By referring to film music in this way, I will then be able to place it on a common footing with the film's other elements, allowing a truly interdisciplinary discourse to take place.