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The Life of the Heart: Music and Narrative in The Beat That My Heart Skipped

The Life of the Heart: Music and Narrative in The Beat That My Heart Skipped not definite. It is a dream. Jacques Audiard interview by Jason Solomons (2009) There is, one might say, a self one is true to in solitude, and a self one is true to in company. Promises, Promises by Adam Phillips (2002) A fly bothers me, I kill it: you kill what bothers you. If I had not killed the fly, it would have been out of pure liberalism: I am liberal in order not to be a killer. Roland Barthes by Roland Barthes (2010) The Beat That My Heart Skipped opens on black. There is no contextual image. We hear the sound of birds, early morning after a long night or perhaps the quiet of a Sunday afternoon, but stillness, and then the voice of a man: ‘You knew my dad right? He wasn’t senile. More of a bossy go-getter.’ The voice is conversational but guarded, confessional, a hint of agitation, and for the first few seconds of the film Audiard invites us to eavesdrop on the most intimate of conversations between men, so intimate the listener, Thomas Seyr, like us, can only wonder and reflect upon a confidence shared between friends. As we are confronted with the http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The New Soundtrack Edinburgh University Press

The Life of the Heart: Music and Narrative in The Beat That My Heart Skipped

Pangborn, Annabelle
The New Soundtrack , Volume 1 (1): 89 – Mar 1, 2011
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Publisher
Edinburgh University Press
Copyright
© Edinburgh University Press
Subject
Articles; Film, Media and Cultural Studies
ISSN
2042-8855
eISSN
2042-8863
DOI
10.3366/sound.2011.0008
Publisher site
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Abstract

not definite. It is a dream. Jacques Audiard interview by Jason Solomons (2009) There is, one might say, a self one is true to in solitude, and a self one is true to in company. Promises, Promises by Adam Phillips (2002) A fly bothers me, I kill it: you kill what bothers you. If I had not killed the fly, it would have been out of pure liberalism: I am liberal in order not to be a killer. Roland Barthes by Roland Barthes (2010) The Beat That My Heart Skipped opens on black. There is no contextual image. We hear the sound of birds, early morning after a long night or perhaps the quiet of a Sunday afternoon, but stillness, and then the voice of a man: ‘You knew my dad right? He wasn’t senile. More of a bossy go-getter.’ The voice is conversational but guarded, confessional, a hint of agitation, and for the first few seconds of the film Audiard invites us to eavesdrop on the most intimate of conversations between men, so intimate the listener, Thomas Seyr, like us, can only wonder and reflect upon a confidence shared between friends. As we are confronted with the

Journal

The New Soundtrack – Edinburgh University Press

Published: Mar 1, 2011

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