Metafilm Music in Jean-Luc Godard's Cinema

Introduction: For Ever Metafilm Music PART I: METAFILM MUSIC, FRAGMENTATION, REPETITION, AND QUOTATION 1. Gapped Music in Godard's 1960s Films: Dissection of the Musical Unity as a Self-Reflexive Exercise 2. Leitmotif Technique Revisited: Indexical Function of Multiply Repeated Musical Fragments in Godard's 1960s Films as Manifestations of Metafilm Music 3. The Undoing of the Leitmotif Technique: Quotation, Fragmentation, and Repetition in Godard's 1960s Films with Beethoven, Schumann, and Pseudo-Bach as Metafilm Music 4. Quoting Popular Songs: Chanson and Canzone as Metafilm Music in Godard's Work PART II: METAFILM MUSIC AND GENRE REFERENCE 5. Referencing Silent Film Music: Metafilm Music, Mise en Scène, Acting, and Storytelling 6. Referencing Music-Specific Genres and Genre-Specific Music: Metafilm Music, "Cinéma-en-kit" Musical, and Pastiched Film Noir Music 7. Referencing Film Music as a Genre: Metafilm Music, Prototypes of Film Music as Genre Mash-Up, and Melodramatic Commutation PART III: METAFILM MUSIC, MUSIC MAKING, AND FILMMAKING 8. Music-Making as Metaphor for Filmmaking I: Metafilm Music in One Plus One and Prénom: Carmen 9. Music-Making as Metaphor for Filmmaking II: Metafilm Music in Soigne ta droite (Une place sur la terre) Conclusion: Two or Three Things I Know about Metafilm Music(s) Notes Works Cited Index