Symmetries, repetitions and variations – Mozart's C-minor Mass in A man escaped by Robert Bresson
In the films of the french director Robert Bresson, especially in those from the intermediary phase of his career, preexistent classical music was commonly utilized and the distribution of these musical parts in the film guard analogies with the original piece. In A man escaped (1956), choral and in...
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| Formato: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2014 |
| País: | Brasil |
| Recursos: | Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS) |
| Repositorio: | Revista FAMECOS: Mídia cultura e tecnologia |
| Idioma: | portugués |
| OAI Identifier: | oai:ojs.revistaseletronicas.pucrs.br:article/14279 |
| Acesso em linha: | https://revistaseletronicas.pucrs.br/revistafamecos/article/view/14279 |
| Access Level: | acceso abierto |
| Palavra-chave: | Robert Bresson Cinema Music Cine Música |
| Resumo: | In the films of the french director Robert Bresson, especially in those from the intermediary phase of his career, preexistent classical music was commonly utilized and the distribution of these musical parts in the film guard analogies with the original piece. In A man escaped (1956), choral and instrumental parts from the Kyrie of Mozart´s C-minor Mass are symmetrically distributed in the film, what recalls the very symmetry of Mozart´s Classicism. The music also symbolizes the way of the main character, a prisoner during the Second World War, who has to pass from solitude to communication with the others in order to escape. |
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