{"id":1459,"date":"2012-12-05T08:14:17","date_gmt":"2012-12-05T07:14:17","guid":{"rendered":"http:\/\/philippelanglois.net\/lcd\/?p=1459"},"modified":"2022-11-01T13:25:20","modified_gmt":"2022-11-01T12:25:20","slug":"la-belle-cerebrale-de-peter-foldes-1968","status":"publish","type":"post","link":"https:\/\/philippelanglois.net\/lcd\/en\/la-belle-cerebrale-de-peter-foldes-1968\/","title":{"rendered":"LA BELLE CEREBRALE, de Peter Fold\u00e8s (1968)"},"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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What do painters\u2019 models dream of during their breaks? The fantasy universe of a young girl preoccupied with her beauty alone\u2026 A mixture of live-action footage, animation and video effects. La belle c\u00e9r\u00e9brale is an undressed fashion model whom Peter FOLDES\u2019s camera caresses like a foreign body. Indifferent to what surrounds her, this woman is bored. She seems not to hear the vulgar conversation of two men who are eating while waiting for a certain L\u00e9opold whom we shall never see, any more than she hears the radio broadcasting a distressing report. To amuse herself, she does her nails, then begins to dream. An imaginary world soon replaces reality, in which various objects: sweets, glasses of wine, telephone, flowers, jewels, wig, take hold of her and occupy her in turn; objects of desire to which frame-by-frame animation gives a total independence of movement. Then the woman dreams of dance and, to music by Fran\u00e7ois BAYLE, her body, split in two in decomposed colours, is reflected and multiplies as in a kaleidoscope. After paroxysmal images, the woman\u2019s face jerked about by the violent images of a spy film, a voice brings her back to the harsh reality of the model\u2019s trade: she must smile and take up the pose again for a canvas that extols \u201cthe flower toothpaste\u201d.<\/p>\n

From the first notes of the credits, the music of Fran\u00e7ois Bayle places us at once in a musical era that saw the public acclaim the Jerks \u00e9lectroniques<\/em> of Pierre Henry and Michel Colombier, taken from the Messe pour le temps pr\u00e9sent<\/em> by Maurice B\u00e9jard in 1967.<\/p>\n

In the revolutionary, protesting social climate of the late 1960s, musique concr\u00e8te, an emanation of the purest musical research, seeks to popularise itself and to draw closer to a wider public, not only by multiplying experiments in applied music, whether for cinema, theatre, ballets, mime shows, puppet shows, etc., but also by resorting to an increasingly frequent musical cross-breeding, in particular with jazz, pop music or psychedelic rock.<\/p>\n

After Luc Perini and Bernard Parmegiani, Fran\u00e7ois Bayle thus in turn, and happily, seizes upon the contrast that results from the marriage of the off-kilter universes of musique concr\u00e8te with pop\/psychedelic-rock sonorities.<\/p>\n

In this film, whose image ultimately shows only the figure of the female model, sound holds an essential place in generating a whole delirious musical universe through an off-screen sound field of the richest and most delicate kind.<\/p>\n\n\n