Abstract
The traditional semiological theories of cinematographic music is based on the subdivision between diegetic and extradiegetic music, according to some well known theories of literary text assumed in film. In this article we will try to show how this division is obsolete and of limited use for the understanding of the functions of film music. The theory of levels elaborated by Sergio Miceli is instead very useful and has led to the identification of the mediated level and of the 'character music’ [mediated level and of the "music-character"]. It is indeed to this theory that we have referred in interpreting some aspects of Federico Fellini's cinema.
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Notes
- 1.
Miceli (2009), pp. 643, 649.
- 2.
Calabretto (1999), p. 271.
- 3.
«No accompanying, supporting or reinforcing music. Niente musica» (Bresson (1992), p. 31). Italics are present in the original text.
- 4.
See Antonioni (1994), pp. 41–42.
- 5.
Cecchi (2010), p. 4.
- 6.
Pasolini (1993), p. 261.
- 7.
Chion (1982).
- 8.
Fellini (1983), p. 82.
- 9.
Miceli (2009), pp. 654-655.
- 10.
Fellini (1989), p. 213.
- 11.
Dahlhaus (2005), pp. 6–7.
- 12.
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Calabretto, R. (2023). Diegetic and Background Music in the Cinema: Differences Between the Uses and Functions of Vocal and Instrumental Music. In: Heister, HW., Polk, H., Rusam, B. (eds) Word Art + Gesture Art = Tone Art . Springer, Cham. https://doi.org/10.1007/978-3-031-20109-7_36
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