The music is first nondiegetic, then diegetic. In the first excerpt, a musical accompaniment infuses the character’s arrival with a certain gaiety. The woman then puts on a record playing the same tune : contrary to the usual cinematic effect that shifts music from a visible source (diegetic) to "pit music" (nondiegetic), Tati introduces the nondiegetic music before the record music. The character seems to have taken over ownership of the music she was not supposed to hear – as if, in cahoots with the filmmaker, she were choosing the soundtrack for her holiday.
