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date: 24 September 2020

Abstract and Keywords

This chapterexamines the connections between music, particularly classical music, and the representation of the human body in narrative films. It evaluates the validity of several relevant theories, including the theses that cinema is about moving images of bodies, that classical music is particularly adept at enabling the cinematic embodiment that screen images alone cannot, and that cinematic bodies are “primarily or originarily erotic.” It contends that musical embodiment in cinema goes beyond the framing of erotic energy and that music is the animate substance that completes the transformation of the image from the mimetic to the virtual.

Keywords: narrative films, classical music, cinematic embodiment, cinematic bodies, musical embodiment, animate substance, screen images

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