It was released in France on 18 November 2009. It was nominated for 4 Csar Awards in 2010, including Best Film.
It also shows that music does not need to be in itself groundbreaking in order to contribute to groundbreaking innovations in sound film. Rapt is a 2009 French-Belgian dramatic film directed by Lucas Belvaux and starring Yvan Attal. Dept.', a 2005 single/EP from Yourcodenameis:milo Rapt or Raptus, a king of the Hasdingi Vandals See also. My analysis of the abduction, washhouse, storm, and dream sequences in Rapt demonstrates that a successful hybrid of sound and image ultimately has the potential not just to use images to pin down music's elusive “reality,” but also to use music's mimetic possibilities to influence our reading of ambiguous imagery. Rapt, a 2009 French dramatic film directed by Lucas Belvaux Rapt: la sparation des races, a 1934 film directed by Dimitri Kirsanoff Other uses. Video Media Production for Artists, Dance Film, Documentary Film, Film. Instead, the images on screen would teach listeners about music's abstract “reality.” In practice, however, in Rapt, mimetic music and musicalized sound effects bridge the gap between aesthetic goals of hybridity and practical demands for intelligible dialogue. Rapt Productions is a team of creatives specialized in dance filmmaking.
#Rapt film free#
Honegger theorized in 1931 that, in sound film, music's “autonomy” would free it from the burden of mimesis. For Rapt, the musically trained Dimitri Kirsanoff used independent financing to collaborate from the start with Honegger and Arthur Hoérée on what the director called “a hybrid form … in which music, image, and dialogue work together.” The innovative electroacoustic and sound editing techniques in the soundtrack for Rapt have, I argue, overshadowed the strikingly reciprocal relationship between the soundtrack's more conventional instrumental underscoring and the images on screen. For Les misérables, Raymond Bernard, who was under contract at Pathé-Natan to direct big-budget theatrical films that would compete with Paramount's French-language productions, expected Honegger to provide intermittent orchestral underscoring for already filmed sequences that privileged dialogue over music. En plein coeur de New-york, à la sortie dun grand magasin, Susannah (Valerie Bertinelli) est aveuglée par une bombe de gaz lacrymogène. Arthur Honegger composed his first sound film scores in 1933–34.