Les ambivalences contemporaines de la décision

Les ambivalences contemporaines de la décision

When one thinks about the relationship between jazz and cinema, only one film immediately comes to mind — Ascenseur pour l’échafaud (1957). The collaboration between Louis Malle and Miles Davis in that movie marked the beginning of a brief love affair between film and Afro-American music. Long befor...

Descrizione completa

Salvato in:
Dettagli Bibliografici
Autori principali: Brugeron, Pierre-Emmanuel, Coutellec, Léo, Weil-Dubuc, Paul-Loup
Natura: Article ou chapitre numérique
Lingua:Français
Pubblicazione: 2016
Accesso online:Accès Université d'Orléans et IFPM
Accès Université d'Orléans et IFPM
id cairn-RFEAP_001_0020
record_format cairn
spelling cairn-RFEAP_001_0020RFEAPRevue française d'éthique appliquée https://shs.cairn.info/revue-francaise-d-ethique-appliquee-2016-1-page-20?lang=fr https://doi.org/10.3917/rfeap.001.0020 Les ambivalences contemporaines de la décision Brugeron, Pierre-EmmanuelCoutellec, LéoWeil-Dubuc, Paul-Loup2016 fre Revue française d'éthique appliquée | 1 | 1 | 2016-05-24 | p. 20-21 | 2494-5757 RFEAP_00199 When one thinks about the relationship between jazz and cinema, only one film immediately comes to mind — Ascenseur pour l’échafaud (1957). The collaboration between Louis Malle and Miles Davis in that movie marked the beginning of a brief love affair between film and Afro-American music. Long before jazzmen were acknowledged as real creators in the United States, a few French film directors showed remarkable audacity and clear-headedness : Miles Davis, John Lewis, Thelonious Monk, Art Blakey, one after the other, became film musicians. This encounter was the result of hard work : Jean Cocteau, as early as the 1920s, but above all Hugues Panassié and Charles Delaunay, a few years later, had committed themselves to promoting “true jazz,” in particular that of Louis Armstrong and Duke Ellington. After Louis Delluc and his “cinéphilie,” Paris became the birthplace of another passion : jazzophilia. With the Liberation, young Parisians started celebrating jazz in Saint-Germain-des-Prés. Jacques Becker’s Rendez-vous de juillet, and some time later the movies directed by Roger Vadim and Louis Malle, evinced an unfailingly good taste regarding the music produced by black Americans. In a much less conspicuous way, the film directors of the “Nouvelle Vague” were in turn influenced by jazz : a new conception of music had nurtured, in a more underground way, a new approach to film making.Cairn free access
language Français
format Article ou chapitre numérique
building 0/Bibliothèque numérique/
1/Bibliothèque numérique/Cairn/
description When one thinks about the relationship between jazz and cinema, only one film immediately comes to mind — Ascenseur pour l’échafaud (1957). The collaboration between Louis Malle and Miles Davis in that movie marked the beginning of a brief love affair between film and Afro-American music. Long before jazzmen were acknowledged as real creators in the United States, a few French film directors showed remarkable audacity and clear-headedness : Miles Davis, John Lewis, Thelonious Monk, Art Blakey, one after the other, became film musicians. This encounter was the result of hard work : Jean Cocteau, as early as the 1920s, but above all Hugues Panassié and Charles Delaunay, a few years later, had committed themselves to promoting “true jazz,” in particular that of Louis Armstrong and Duke Ellington. After Louis Delluc and his “cinéphilie,” Paris became the birthplace of another passion : jazzophilia. With the Liberation, young Parisians started celebrating jazz in Saint-Germain-des-Prés. Jacques Becker’s Rendez-vous de juillet, and some time later the movies directed by Roger Vadim and Louis Malle, evinced an unfailingly good taste regarding the music produced by black Americans. In a much less conspicuous way, the film directors of the “Nouvelle Vague” were in turn influenced by jazz : a new conception of music had nurtured, in a more underground way, a new approach to film making.
author Brugeron, Pierre-Emmanuel
Coutellec, Léo
Weil-Dubuc, Paul-Loup
spellingShingle Brugeron, Pierre-Emmanuel
Coutellec, Léo
Weil-Dubuc, Paul-Loup
Les ambivalences contemporaines de la décision
author_facet Brugeron, Pierre-Emmanuel
Coutellec, Léo
Weil-Dubuc, Paul-Loup
author_sort Brugeron, Pierre-Emmanuel
title Les ambivalences contemporaines de la décision
title_short Les ambivalences contemporaines de la décision
title_full Les ambivalences contemporaines de la décision
title_fullStr Les ambivalences contemporaines de la décision
title_full_unstemmed Les ambivalences contemporaines de la décision
title_sort les ambivalences contemporaines de la décision
publishDate 2016
container_title
container_issue
url https://ezproxy.univ-orleans.fr/login?url=https://shs.cairn.info/revue-francaise-d-ethique-appliquee-2016-1-page-20?lang=fr
https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.3917/rfeap.001.0020
_version_ 1877246552827756544

Documenti analoghi