The purpose of this essay is to speculate on how in Jacques Tati’s comedies, movement and gesture, in rhythmic connection with sound, are the primary elements that contribute to the development of the comic message. Tati’s universe is in fact a dimension constituted apart from our world (Chion, 1987), because of its acrobatic, imbalanced, and fleeting sound-visual interactions. Moving from the analysis of some of the most significant sequences of Monsieur Hulot’s adventures, this essay aims to show that Monsieur Hulot is a half-body who, in order to gain meaning and consistency, freely flows into a sort of modern ballet of the world (Deleuze, 1985).
Le coreografie del comico: acrobazie visive e performance sonore nel cinema di Jacques Tati
Tassone M
2025-01-01
Abstract
The purpose of this essay is to speculate on how in Jacques Tati’s comedies, movement and gesture, in rhythmic connection with sound, are the primary elements that contribute to the development of the comic message. Tati’s universe is in fact a dimension constituted apart from our world (Chion, 1987), because of its acrobatic, imbalanced, and fleeting sound-visual interactions. Moving from the analysis of some of the most significant sequences of Monsieur Hulot’s adventures, this essay aims to show that Monsieur Hulot is a half-body who, in order to gain meaning and consistency, freely flows into a sort of modern ballet of the world (Deleuze, 1985).I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
