{"id":1105,"date":"2012-04-11T15:42:20","date_gmt":"2012-04-11T13:42:20","guid":{"rendered":"http:\/\/philippelanglois.net\/lcd\/?p=1105"},"modified":"2014-09-03T09:27:16","modified_gmt":"2014-09-03T07:27:16","slug":"un-carnet-de-bal-de-julien-duvivier-1937","status":"publish","type":"post","link":"https:\/\/philippelanglois.net\/lcd\/en\/un-carnet-de-bal-de-julien-duvivier-1937\/","title":{"rendered":"UN CARNET DE BAL de Julien Duvivier (1937)"},"content":{"rendered":"

The text and the video excerpt below document Philippe Langlois\u2019s book, Les cloches d\u2019Atlantis, Musique \u00e9lectroacoustique et cin\u00e9ma, Arch\u00e9ologie et histoire d\u2019un art sonore,<\/em> <\/a>\u00e9ditions mf, Paris, 2012.<\/p>\n

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When he composes the Valse grise, inspired by Jean Sib\u00e9lius\u2019s Valse Triste, Maurice Jaubert illustrates the memory sequence in which Christine Surg\u00e8re recalls her first ball in flashback. The psychic phenomenon of memory operates in reverse. A moment of the past resurfaces in the present. There is a rupture in the natural unfolding of time. The retrograde score technique is called for here to bring the compositional process closer to the mechanics of memory.<\/p>\n

By writing his music backwards, Jaubert models his approach on the pattern of human thought and creates a musical metaphor of memory that \u201creturns\u201d to the past, just like music played backwards. The resonances that precede the attacks lend this sequence a strange embellishment, such as memories are sometimes capable of engendering. Like Jean Vigo in Zero for Conduct, and to underline the beauty of the memory that springs up like a dream, Julien Duvivier shoots the ball scene entirely in slow motion.<\/p>\n