{"id":1412,"date":"2012-11-22T21:55:51","date_gmt":"2012-11-22T20:55:51","guid":{"rendered":"http:\/\/philippelanglois.net\/lcd\/?p=1412"},"modified":"2022-11-01T13:58:13","modified_gmt":"2022-11-01T12:58:13","slug":"un-garcon-plein-davenir-de-peter-foldes-1965","status":"publish","type":"post","link":"https:\/\/philippelanglois.net\/lcd\/en\/un-garcon-plein-davenir-de-peter-foldes-1965\/","title":{"rendered":"UN GAR\u001cCON PLEIN D’AVENIR de Peter Fold\u00e8s (1965)"},"content":{"rendered":"

The text and video excerpt below document the book by Philippe Langlois, 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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An animated film conceived and directed by Peter Fold\u00e8s on a dark scenario that can be seen as a metaphor for human cruelty, through the growth of a man from his birth, when, already as a baby suckled by his mother, he ends up devouring her. Having become an adult, he experiences his strength and war, and gives himself over to the destruction of everything within his reach. It is Schubert\u2019s romantic music that seems to restore a human face to this ultra-violent character and allow him to feel the sentiments of remorse and then love. This lull is however only short-lived, and his murderous impulses quickly regain the upper hand because of the provocations of an immodest woman. Resuming his devastating march, he ends up perishing, crushed by a force even greater than himself.<\/p>\n

Although it belongs to the register of the cartoon, the film is nonetheless not intended for a young audience.
The approach of Luc P\u00e9rini\u2019s audio track is conceived as a veritable programme music oscillating between a soundtrack that is at once stylised and illustrative, representing the adventures of this monstrous character by resorting, notably, to a whole sound imagery taken directly from referential registers (boxing, cries, crowd, war noises, an excerpt from the first movement of Franz Schubert\u2019s Symphony No. 8).
The music during the opening credits takes up martial rhythms played on a barely distorted snare drum, as well as strident and evolving textures of musique concr\u00e8te that seem to represent the danger and growing cruelty of this bloodthirsty monster<\/p>\n\n\n