La ritournelle et le galop dans la musique romantique et le cinéma moderne
Through an investigation of the concepts of the refrain and the gallop put forward by Gilles Deleuze and Félix Guattari, this dissertation explores the function of musical temporality in modern cinema.  The concept of temporality will be brought to light in three parts. The first will expound on the different forms of temporal articulation through a reexamination of Romantic music. With the figure of the misunderstood, reclusive, exiled composer and the use of the fragment, it will be seen that Romantic music features characters that are Earthbound and found territories. The next part, recognizing the importance of understanding the mechanics of cinematic music, presents a vital examination of the various theories on the subject and their conclusions. From this theoretical investigation, it will be necessary to understand that the classical functions attributed to cinematic music fall short of fully explaining the mechanics of music in modern cinema. Indeed, this is because there is a new issue driving the images. These films, just like Romantic music, convey the passage of time. The final part shows that at the intersection of the concepts of Romantic music and the music of modern cinema, it is through the refrain and the gallop that the filmic musicality reveals a new temporality in the images.
Deleuze Guattari Rosen Fragments Territories Esthetics Character Landscape Time Fragments Cinema Refrain Gallop