From 1936 to 1939, the Spanish Civil War gave several film directors the opportunity to stand side by side with Republican soldiers by filming them in combat. Henri Cartier-Bresson first movie Victoire de la vie (Victory of Life, 1937), then, one year later, as the nationalist side was gaining ground, L’Espagne vivra (Spain shall live, 1938). The music for Cartier Bressons’s two films follows two contrasting strategies: for Victoire de la vie, French composer Charles Kœchlin composed an original soundtrack in a relatively homogeneous style, whereas in L’Espagne vivra, Louis Saguer made use of a compilation of pre-existing symphonic pieces. This article intends to analyse how these two musical approaches align themselves with the contrasting but complementary analyses of the Spanish Civil War provided by Cartier-Bresson's two films.

从 1936 年到 1939 年，西班牙内战让几位电影导演有机会通过拍摄战斗中的共和党士兵与他们并肩作战。Henri Cartier-Bresson 的第一部电影Victoire de la vie（生命的胜利，1937 年），然后，一年后，随着民族主义方面的进展，L'Espagne vivra（西班牙将活着，1938 年）。卡地亚·布列松 (Cartier Bressons) 的两部电影的音乐遵循两种截然不同的策略：对于Victoire de la vie，法国作曲家 C​​harles Kœchlin 以相对同质的风格创作了原声带，而在L'Espagne vivra, Louis Saguer 使用了预先存在的交响乐作品的汇编。本文旨在分析这两种音乐方式如何与卡蒂埃-布列松的两部电影提供的对西班牙内战的对比但互补的分析保持一致。