ABSTRACT

There is very little academic work on music in television series, and none on music in French television series. This article focuses on one of the most successful French television series, the eight-season-long Engrenages/Spiral (Canal+, 2005–2020). It identifies the similarities and differences between music for films and music for television series before focusing on the music composed by Stéphane Zidi for Engrenages. This combines the unusual use of gamelan instruments as musical cues with more melodic piano themes. Arguing that television series music, which might have been even more ‘unheard’ than film music, functions to shape audience perception of the characters, the article focuses on the specificities of gamelan cues and piano themes. The piano themes migrate from one character to another across the eight seasons of the series, and the article shows how this affects the narrative arc of the main character, Laure Berthaud, emphasising her rejection of (both) the conflicting roles of mother and leader.

摘要

关于电视剧音乐的学术著作很少，关于法国电视剧音乐的学术著作也很少。本文重点介绍最成功的法国电视连续剧之一，长达八季的《Engrenages/Spiral》（Canal+，2005-2020 年）。它首先介绍了电影音乐和电视剧音乐之间的异同，然后重点介绍 Stéphane Zidi 为Engrenages创作的音乐。这将加美兰乐器作为音乐提示的不寻常用途与更具旋律性的钢琴主题结合在一起。文章认为，电视剧音乐可能比电影音乐更“闻所未闻”，它的作用是塑造观众对角色的感知，文章重点讨论了加美兰提示和钢琴主题的特殊性。在该剧的八季中，钢琴主题从一个角色转移到另一个角色，文章展示了这如何影响主角劳尔·贝尔托的叙事弧线，强调她拒绝（两者）母亲和领导者的冲突角色。