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La musique de la Rome antique dans le péplum hollywoodien (1951-1963) : entre reconstitution et réinvention

Christophe Vendries 1, 2
1 LAHM - Laboratoire d’Archéologie et Histoire Merlat
CReAAH - Centre de Recherche en Archéologie, Archéosciences, Histoire, UR2 - Université de Rennes 2
Abstract : This article examines how the image of antique music was conceived in the 50s Hollywood Toga movies blockbusters. Two aspects are studied: accessories (which musical instruments of antiquity were shown on the screen?) and compositions of the soundtrack. In 1951, the composer Mr. Rozsa has taken a new step of creation for Quo vadis? by studying the archeological data. The aim was to lend authenticity to roman music by using replicas of musical instruments and by incorporating ancient « partitions ». Despite his attempt, some anachronisms remain. The insertion of original plays of Greco-Roman music was not enough to change the romantic mood that was very popular at Hollywood. Nevertheless, this extensive experience raises the question of the emergence of an archaic musical style in scores that can give the illusion of Romanism. This study also compares the musical choices adopted by other composers and for the music of neo-epic.
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Christophe Vendries. La musique de la Rome antique dans le péplum hollywoodien (1951-1963) : entre reconstitution et réinvention. Mélanges de l'Ecole française de Rome - Antiquité, École française de Rome, 2015, 127 (1), ⟨10.4000/mefra.2791⟩. ⟨hal-01493580⟩

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