{"title":"你,我,还有其他人?奥黛丽·埃斯特鲁戈音乐电影《你,我,其他人》中的流行音乐和移民(2011)","authors":"Renaud Lagabrielle","doi":"10.15203/ATEM_2018.08","DOIUrl":null,"url":null,"abstract":"In my article, I analyse the relationship between famous French songs and migration in the French film musical Toi, moi, les autres (Audrey Estrougo 2011), which mixes the codes of the fairy tale romcom with a story about undocumented migrants in contemporary Paris. I underscore that the use of these songs – very few of the musical arrangements are sung by figures of sans-papiers – is pernicious. They serve to highlight and to cement the love story of the two protagonists much more than to develop a real political discourse. I argue that the filmmaker has exploited the memorial – and sentimental – dimension of the French songs for the benefit of the romantic story but has failed to offer a critical discourse on the situation of the undocumented migrants, which had been one of the intentions of the film.","PeriodicalId":166076,"journal":{"name":"ATeM Archiv für Textmusikforschung","volume":"3 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2018-08-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Toi, moi… et les autres ? Musique populaire et migration dans le film musical Toi, moi, les autres d’Audrey Estrougo (2011)\",\"authors\":\"Renaud Lagabrielle\",\"doi\":\"10.15203/ATEM_2018.08\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"In my article, I analyse the relationship between famous French songs and migration in the French film musical Toi, moi, les autres (Audrey Estrougo 2011), which mixes the codes of the fairy tale romcom with a story about undocumented migrants in contemporary Paris. I underscore that the use of these songs – very few of the musical arrangements are sung by figures of sans-papiers – is pernicious. They serve to highlight and to cement the love story of the two protagonists much more than to develop a real political discourse. I argue that the filmmaker has exploited the memorial – and sentimental – dimension of the French songs for the benefit of the romantic story but has failed to offer a critical discourse on the situation of the undocumented migrants, which had been one of the intentions of the film.\",\"PeriodicalId\":166076,\"journal\":{\"name\":\"ATeM Archiv für Textmusikforschung\",\"volume\":\"3 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2018-08-23\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"ATeM Archiv für Textmusikforschung\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.15203/ATEM_2018.08\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"ATeM Archiv für Textmusikforschung","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.15203/ATEM_2018.08","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
摘要
在我的文章中,我分析了法国电影音乐剧Toi, moi, les autres (Audrey Estrougo, 2011)中著名的法国歌曲与移民之间的关系,它将童话浪漫喜剧的代码与当代巴黎无证移民的故事混合在一起。我要强调的是,使用这些歌曲是有害的——很少有音乐编曲是由没有纸的人演唱的。他们的作用是突出和巩固两个主角的爱情故事,而不是发展一个真正的政治话语。我认为,电影制作人利用了法国歌曲的纪念和情感维度,为浪漫故事提供了好处,但未能对无证移民的处境提供批判性的论述,这是电影的意图之一。
Toi, moi… et les autres ? Musique populaire et migration dans le film musical Toi, moi, les autres d’Audrey Estrougo (2011)
In my article, I analyse the relationship between famous French songs and migration in the French film musical Toi, moi, les autres (Audrey Estrougo 2011), which mixes the codes of the fairy tale romcom with a story about undocumented migrants in contemporary Paris. I underscore that the use of these songs – very few of the musical arrangements are sung by figures of sans-papiers – is pernicious. They serve to highlight and to cement the love story of the two protagonists much more than to develop a real political discourse. I argue that the filmmaker has exploited the memorial – and sentimental – dimension of the French songs for the benefit of the romantic story but has failed to offer a critical discourse on the situation of the undocumented migrants, which had been one of the intentions of the film.