If anything warranted cut with the dull but steady inactivity of this blog, is this recent publicity by Martin Scorsese Freixenet to .
Beyond sympathy for cinéphiles appointments, which I found remarkable is the role of music in this short. There is a very interesting game between the music that comes from the orchestra as part of what happens within the scene, and at the same time, its dramatic function as music off, out of sight. In terms of Michel Chion, French theorist who wrote about these issues, screen music and music pit :
"We will call to pit music that accompanies the image from an off position, outside the place and time of action. This term refers to the orchestra pit of opera classic.
call music screen, however, which emanates from a source directly or indirectly in the place and time action, although this source is a radio or scrub off the field. "
What is remarkable is that in this case the music is from the same source and fulfills both functions, constantly leaving and entering the scene and diegesis of the story. What's more, at a time unbelievable, a musician himself takes center stage playing his violin for the rest, and then transforming the same rope with which he played a murder weapon.
Then there are things that are significant and represent very well the Hitchcockian universe: The first sentences of Scorsese ( "The posters were like dreams, in the sense that invited you to dream: spend and dream this movie, the faces, color, movement ) and the documentary treatment of his story, the choice of a theater as a location of history and the interplay between the public stage and the stage, and the final taxed to Rear Window, but also by almost a declaration of principles which are the places the viewer and as a work of cinema itself.
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