Chapter 3 introduces double projection as a phenomenon that occurs when well-known music calls up preexisting associations on the viewer’s mental screen while watching a movie. With the advent of film, such music-induced double projections proliferated, creating a qualitatively new experience of intertextuality. While compilers of early film scores worried about such "interferences" when recycling well-known songs or operatic numbers, film makers soon began to exploit the potential of intentional reference and allusion. The two case studies of this chapter focus on the potential of critical interference and formal synchronicity in the montage films of late modernist European cinema: Alexander Kluge’s quotation in The Patriot (1979) of Hanns Eislser’s score for the Holocaust documentary Night and Fog (1955); and Jean-Luc Godard’s use of of a phrase from Paul Hindemith’s Sonata for Viola and Piano, op. 11 in his Histoire(s) du cinema (1988-89). In as much as intertextuality has become rampant in both modernist and post-modernist media, the chapter concludes with the suggestion that music may at times become buoyant and free itself from being visually overdetermined.
Keywords: Night and Fog (Nuit et brouillard) (1955), The Patriot (1979), Histoire(s) du cinéma (1988–1989), double projections, critical interference, formal synchronicity, musical buoyancy, Alexander Kluge, Jean-Luc Godard, Hanns Eisler
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