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Krishvy is a doctor in film studies, specializing in film music.
She obtained her doctorate following an international joint thesis between the universities Paris 8 Vincennes-Saint-Denis and Montreal (UdeM) in 2022, under the supervision of Marguerite Chabrol (P8) and Serge Cardinal (UdeM).
Her expertise was sought after by the Philharmonie de Paris in 2022 for the writing of a booklet on the composer Jō Hisaishi, and her work was also discussed in the context of an international seminar "Work and Virtuality" in 2021, co-organized by the universities of Montreal (UdeM), Montpellier, and Marseille.
In addition to contributing to collective works, she is currently working on a book that explores the importance of music in creating the virtuality of a character in fictional works.
She continues her research with the Sound Creation Laboratory (UdeM, Montreal), a research-creation laboratory led by Serge Cardinal and Frédéric Dallaire, focusing on three objectives: a poetics of sound creation, an audiovisual archaeology of our listening culture, and a poetics of audio-visual.
Academic Background
Teaching and Research Activities
Publications and Conference Presentations
Thesis Summary
Our work on Disney falls within the field of film music, and although the studio has been the subject of numerous studies on both aesthetic and cultural issues, it remains interesting to study because it can thus become the object of research, not on the originality of a corpus, but on a shift in method, allowing us to examine the ideology at work. Our thesis focuses on The Little Mermaid (1989), Beauty and the Beast (1991), and Aladdin (1992) where we believe that by resorting to the recomposition of the music of certain sequences from the films, we can make the virtuality of the film text play a role in this critical endeavor: to rediscover the voices of the heroines Ariel, Belle, and Jasmine. We think that previous readings have chosen to prioritize the narrative and that the shift proposed by Stanley Cavell in his reading of King Lear, attributing coherence to the character, invites us, following the same model, to make a similar reading concerning Disney films. If a gesture of musical recomposition can help us think about this relationship to the character, it is because we believe that music can make the virtuality of a film (and more specifically its characters) heard, and thereby become a gesture of critical analysis of its ideology, particularly of power relations. Recomposing certain important sequences of the film is to shed new light on it by taking up the very musical materials of the film composer (Alan Menken) to redistribute the emphases - a notion to which we do not attribute only a musical value, but a philosophical value, borrowing from Stanley Cavell the idea that a difference in emphasis can make all the difference in the world. Musical recomposition enacts the necessary back-and-forths for the understanding of the sequences we will work on: it gives substance to the resonant spaces of the film and composes the emergences of an initial promise proposed by the film regarding its heroine. It helps us reflect on the film and its interactions while bringing to the surface the said promise that the film sought to block the actualization of. These back-and-forths allow us to rediscover the importance of musical numbers within the films in which the heroines express themselves. By extending our analysis through the prism of intermediality, we reflect on the permeability with the Broadway stage (or more precisely here with off-Broadway) which allows for dual readings arising from the musical numbers. The entirety of the music, in its connection to the audio-visual complex, allows us to reflect on the power relations inscribed in the film.
Keywords: Film Music, Musical Recomposition, Intermediality, Musical Emphasis, Alan Menken (1949-), Howard Ashman (1950-1991), The Little Mermaid, Beauty and the Beast, Aladdin, Stanley Cavell, Disney.
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