Melomane

Monsieur de Rochetaillée was a melomane. He thought of nothing, cared for nothing but music. It was the passion of his life; he could not live without music and musicians.

But what was even more important to Monet’s eventual success in devising landscape images that attracted music-modeled appreciation like Silvestre’s is the fact that the melomanes among the younger painters of the 1860s had not produced anything like a consistent painting practice modeled on music.

But music in Tarantino is also part of a larger sonic obsession that stresses the acoustic impact of dialogue, noise, atmosphere, and effects—Tarantino is an audio[-]mane as much as a melomane.