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  1. The Book of Kells
  2. Soundtracks
  3. Products | Cartoon Saloon
  4. Brendan et le secret de Kells

The Secret of Kells () SoundTracks on IMDb: Memorable quotes and exchanges from movies, TV series and Soundtrack Credits The Book Of Kells. The Secret of Kells Soundtrack. By Shawn McKeever. 21 songs. Play on Spotify. 1. Opening BrendanBruno Coulais • Brendan Et Le Secret De Kells. 2. 15, The Story Of Colmicille. 16, During The Attack. 17, Kells Destroyed. 18, The Book Of Iona. 19, The Book Of Kells. Composed By – Dee Armstrong. 20, Epicy.

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Book Of Kells Soundtrack

track listings, recommendations, and more about Bruno Coulais & Kíla - The Secret Of Kells - Original Soundtrack at Discogs. The Book Of Kells, Soundtrack to Oscar Nominated film the Secret of Kells. . I actually made a beautiful Easter basket with it and the Secret of Kells movie, a book of Kells, and just. The Secret of Kells is a French-Belgian-Irish animated fantasy film animated by Cartoon . The film is based on the story of the origin of the Book of Kells, an illuminated manuscript Gospel book in Latin, containing the four Gospels of the.

The Secret of Kells dir. The film was conceived and produced by Cartoon Saloon in Kilkenny, Ireland but due to the limited funding available in Ireland for feature length animation, the film was made with co-producers in Europe including Les Armatuers in France, Vivi Film in Belgium, and France 2 Cinema and animation teams in Brazil and Hungary; though still primarily in Ireland. The film deals with organized religion and the church in a way that moves on from recent Irish fiction films that show an anti-clerical fixation fuelled by an almost never ending series of clerical scandals such as The Magdalene Sisters and Songs for a Raggy Boy, Brereton, ; but shows the universality of nature as an inspiration for the creation of the Book of Kells. This move away from the organized church as a narrative focal point makes the film more accessible to international audiences, as evidenced by the film obtaining worldwide distributors, particularly a US distributor and nomination for an Oscar, but can perhaps be seen as a exploitation of Irish myths to obtain funding within Ireland and to export Ireland as a source of mythic origins to attempt to speak to a global viewer in universalist terms. The Secret of Kells jettisons the linear conception of history and of the nation by freely playing with the truth in its mix of legend, fact and fiction. Fundamental to the construction of the nation of Ireland as a concept, is the telling of its stories that both represent the nation to its own people and others and are instrumental in constructing the image of the nation. Homi K. For Bhabha, colonialism and post-colonialism are fundamental to an understanding of the shaping of modernity and thus the concept of the nation. Post-colonialism analyses the ideas and histories that have allowed the West to dominate so much of the world. Ireland, on the margins of Europe, and animation considered often as on the margins of the film industry come together in The Secret of Kells to interrogate ideas of the nation and Irishness within a world context. By portraying the finishing and saving of the Book of Kells as the quest of a young hero 12 year old Brendan, aided by a younger fairy Aisling , the film can be seen as a romanticisation of Ireland and a sentimentalisation of youth. But in the film, while Brendan fulfils his quest, the people of Kells are not saved from the barbarian Viking invaders. Established tropes of religion and mythical Ireland are used throughout the film, which can be read as part of a global trend of romanticizing Ireland, yet there are subtle clues subverting many of these tropes through the narrative. Brendan needs to defeat the snake, Crom Cruach, to steal his crystal eye to let him complete the Book of Kells but the presence of his dream icons leads us to understand that the battle with Crom Cruach is actually a dream. In analyzing this scene, I intend to show how the film subverts its religious origins by marrying pagan elements with more expected Catholic themes.

The inherent freedom in animation, as a form, to create a filmic world unrestrained by budgetary considerations in location, set design, or casting, should allow animators to address social issues relevant to a contemporary Ireland [2]. On the surface, The Secret of Kells addresses outdated issues around the role of the Church in the State and hegemonic Catholicism, but in its nuanced subversion of the trope of religion and the church it can be seen to break new ground.

Irish animation is a strong industry, buoyed up by tax breaks but it needs to carve out an individual voice in a worldwide industry. This led to the establishment of two stylistically different animation courses in Dublin, one in Ballyfermot producing classically trained animators and Dun Laoghaire IADT, with a more European experimental arthouse style Clancy Until the release of The Secret of Kells, most successful feature length Irish animated films exploited digital methods of production.

It shows a stylistic and narrative hybridity that merges such art-house animation with mainstream storytelling. The Secret of Kells aims to illustrate the importance of art and culture to the concept of Irishness by taking a cultural foundation stone, The Book of Kells, and narrating a fictional tale around its creation.

This fetishised book will save the people of Ireland from barbarian invaders, the Vikings, not physically, but by keeping the Catholic religion alive through faith in the beauty of the book. Defeat by the barbarians is inevitable and only learning can keep religion and thus, the essence of man, alive.

For Bhabha, narrative is a moving sign of civic life and if it is stifled or if a unified truth is insisted upon, then the result is the monolith, the holistic total sociological explanation, or the authoritarian political culture Huddart , p. Brendan, despite being brought up in the Abbey amongst the monks, does not look within for inspiration to complete the Book. He must escape to the forest and see the beauty of the natural world outside the walls of the Abbey.

This is illustrated in the film in the first scene in the scriptorium where Brendan dips his goose quill into his inkwell. His first picture is not of any Catholic icon, but of flowers he saw in the forest, white bells that to him represent Aisling. Brendan and Aisling are shown playfully sliding down a fern that curls across a screen showing a page from the Book of Kells, an interaction with a religious icon that could perhaps be interpreted as irreverent.

I prefer to interpret it as showing the symbiotic relationship between the Book of Kells and the natural world. This relationship is continuously portrayed in the film by its visual style.

The forest is full of plants and animals that move in concentric swirls, inspired by the Book of Kells, and the drawings created by Brendan forming part of the Book within the film are inspired by these forms from nature.

This reliance by Brendan on the natural for inspiration, rather than his religion, undermines the purity of religion symbolized by the use of the Book of Kells. In keeping with this subversive version of the inspiration for the Book of Kells, the film undermines the purity of the origins of the nation of Ireland. An historical narrative like The Secret of Kells upsets the horizontal logic of the nation as a self-created monolith, symbolized by the Book of Kells, but shows that in fact the nation is a mongrelized, hybridized form that both inspires and is comprised of a myriad of influences.

The film features a group of multi-cultural monks, Brother Tang, Brother Assoua, and Brother Leonardo and shows the repeated invasion of Ireland by the Norsemen, the barbarians in search of gold. By enabling different narratives to co-exist, the film illustrates the multiplicity of elements that are required to form the concept of the nation. Such an image of the nation-or narration- might seem impossibly romantic and excessively metaphorical, but is from these traditions of political thought and literary language that the nation emerges as a powerful historical idea in the west.

An idea whose cultural compulsion lies in the impossible unity of the nation as a symbolic force. What Bhabha is doing is moving the concept of the nation away from a linear historical model to a temporal dimension, highlighting the ambivalence of the nation as a narrative strategy.

The space inhabited by the people of a modern nation is never simply horizontal but involves an element of temporality. I agree that the plot could have been a bit stronger but the visuals were captivating, to be sure. It's worth watching on streaming, but the extra features are worth waiting a couple of days for. Once her milkshake has brought all the boys to the yard, is there a lot more to talk about? And that's when shit gets freaky. Can't wait to see it! I know what I'm doing tomorrow night.

I've had this saved on Netflix for months. The soundtrack is beautiful, and the voice acting is wonderful. I wouldn't call the plot weak; the story is simple and creates a simple metaphor for a cultural history of Ireland. Thanks for reminding me to watch it again! Thanks for the recommendation. It's not just the staid religious types of things. The letters seem alive. There are human figures that are fantastically elongated in part and pulling each other's beards. A horse rider is pointing an important part of the text with his toe.

Sarah Dowdy: That's one of my favorite parts. It's like look at this. I'm kicking towards it. Katie Lambert: There's an inebriated illustrated man who's sinking against the edge of the page. Sarah Dowdy: And there are tons of animals, too, lizards and cats and lions, moths, otters, fish, mice, hens, lizar ds, hounds. And it's funny, too, some of the animals, obviously, the monks wouldn't have seen these - these - monks on Iona, Kells, wherever they are never would have seen a lion, for example.

And they must have known kind of how a lion's body was shaped and that it had a mane, but consequently, they end up looking like dogs with these big funny whiskers. But the animals are used, too, to indicate things, corrections and additions and a turn in the path, which is kind of a change in the direction of the text.

So they - they have roles. Katie Lambert: And there is feature art, as well, complex scenes that take up whole pages, like the arrest of Christ, the temptation of Christ, virgin and child, Saint Matthew, Saint John, but perhaps the most famous is the Chi Rho. Sarah Dowdy: And that gets us to the illuminators, the people who illustrated the book.

The historian, Francoise Henry, thinks that there are there principle artists. One is the goldsmith, and he's probably the most famous here. Of course, we don't know who these people really are and what their names would have been, but the goldsmith is considered the great draftsman, and he didn't draw foliage, but he really liked yellow and blue.

And he probably illustrated that famous Chi Rho page and earned his nickname - and if you've ever seen the Chi Rho, this will make sense, too - he earned his nickname because he was really good at creating the effect of gold filigree on vellum with this yellow color, which was actually arsenic based.

So we can only guess about the goldsmith's health later in life but really impressive work. Katie Lambert: And then, we've got the portrait painter, who created the images of Christ, the four evangelists, and maybe the symbol page in the Saint Matthew Gospel. And the third is the illustrator, who really liked bright colors and may have been responsible for the temptation of Christ, the arrest of Christ, and the virgin and child images. Sarah Dowdy: The virgin and child, I'd say, is one of the most striking images in the book, too.

But it's also believed that there were four scribes, and they don't get names that are quite as good as the - as the illuminators here. But they're called just A, B, C, and D, and because their hands are so similar, I mean, it's hard for an untrained eye like my own to even tell them apart.

Katie Lambert: And possibly [inaudible]. Sarah Dowdy: But they were probably trained together and worked together in the same scriptorium. Hand A uses this typical brown gall ink. Hand B uses black ink, which I had no idea it was a novelty at the time and probably signified some kind of Mediterranean contact. It's weird to think that black ink wouldn't be your standard. Katie Lambert: And Hand C is responsible for lots of the book, according to scholars.

And Hand D had a large, confident script that's a little easier to tell. Sarah Dowdy: Which you would have to have some confidence, too, to write this stuff. You had to write quickly on vellum to keep a nice flow to the script. And we've talked about how open and clear this kind of writing is.

The Book of Kells

If you - if you understood Latin you'd probably be able to read it. It's not that cramped, difficult style of writing that you would maybe expect from the period. Katie Lambert: And contemporary calligraphers have messed around with this style of writing and figured out that a page of script without the decorations, you know, just the writing, might have taken only a few hours.

The decoration, of course, would have taken a lot longer, but it's interesting to think of how fast you could make a Book of Kells. Sarah Dowdy: But I still think of writing for a few hours on one page, how if you made a mistake it would just be - I would think I would be devastated. I would not be a good scribe.

But there aren't many corrections, or at least there aren't many corrections that are - are noted. And instead of just scribbling something out or like what I would probably do, try to turn it into the right letter, they - they just superscript the new letter above the incorrect one and mark out the old one with a dot in the center, which consequently, makes it look pretty good.

Katie Lambert: So how did they make this book if there aren't a ton of corrections and everything? How did it work? We'll talk a little bit about the actual writing process. Scribes used quills from feathers of swans or geese, and you can actually get a pretty good idea of what the scribe at work might look like when you see the image of John the Evangelist, who's depicted with his quill hard at work on the Gospel. Sarah Dowdy: And the makers of the book liked to remind their readers what they were reading, and I would think, remind them of - of the monks own role in making it.

Because, I mean, after all, copying - copying the Bible like this is an act of devotion in itself, and so, books appear in the manuscript more than 30 times. Angels hold them, evangelists, Jesus, just sorta reminding people of that whole larger connection. Katie Lambert: The painting was done with fine brushes, probably made from the fur of the pine martin, which is a weasly type of animal, and - Sarah Dowdy: It's kind of cute, too.

Katie Lambert: It is super cute. We Google imaged it. Lapis lazuli was the most expensive pigment used. The only known source for it in the 9th century was one mine in the Botukshan area of Afghanistan, so it - consequently, it cost a fortune.

Traitors could charge whatever they wanted for it. And other imported pigments from the Mediterranean include the maroon colors and purple, and there was - white and red are often derived from white lead or red lead, another kind of toxic pigment to be working with. Red could also come from a pregnant Mediterranean insect. Katie Lambert: The kermicocus vermilion.

Soundtracks

Sarah Dowdy: Which I just wonder how people discover stuff like this. If you step on a bug and you notice some nice red looking ink come out of it.

Katie Lambert: We don't have to go through that much trouble at the office. You could get your green from a verdigris, a copper acetate, but this didn't do as well over time, since it corrodes the vellum when it's damp because I think sometimes you have to mix it with vinegar.

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Don't you? I think it might have to be prepared with vinegar. But the artists also used tools. They had rulers and set squares and compasses.

Brendan et le secret de Kells

Sometimes you can even see the very, very faint trace lines from the compasses. And they used templates, and - but some of the illuminations are so small and there are these intense geometric designs that have lines that are less than half a millimeter apart.

You wonder how they did this, even with tools. How is it possible? Katie Lambert: Well, that's why we have Cornell because Cornell paleontologist, John Sisney believes, according to Cornell news, that the Celtic monks - and this is a quote from him, "Trained their eyes to cross above the plain of the manuscript so they could visually superimpose side-by-side elements of a replicated pattern and thereby create 3D images that magnified differences between patterns up to 30 times.

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