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Significação musical em cinema : teorias e contextos
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Esta tese pretende investigar o significado da banda sonora em cinema, numa
abordagem que se pretende multidisciplinar. São diversas as problemáticas inerentes à
presença da música em cinema, que foi vista, até pelo menos ao aparecimento da
Nouvelle Vague em França no final dos anos 1950, como um elemento secundário na
literatura existente.
O ponto de partida para esta análise, e adoptando uma metodologia art-based
research, é realizado a partir de uma banda sonora composta para a curta-metragem
Pesadelo, de Rita Santana, que é utilizada como objecto de experimentação e aplicação
de técnicas de composição em contexto fílmico. A análise é complementada com recurso
a estudos de caso que contribuem para fundamentar e compreender algumas das
estratégias adoptadas. Os estudos de caso abordam 6 filmes: Douro, Faina Fluvial de
Manoel de Oliveira, The Shining de Stanley Kubrick, The Fearless Vampire Killers de
Roman Polanski, Pierrot le Fou de Jean-Luc Godard, Smoking e No Smoking, um díptico
dirigido por Alain Resnais, e um compositor: Bernard Herrmann. Em quaisquer dos casos
são analisados procedimentos que se relacionam com técnicas aplicadas no objecto
artístico central na investigação, no sentido de compreender de que forma se revelam e
interagem ao nível da significação.
Assim, a intenção desta tese é estabelecer uma ponte metodológica entre a teoria
musical e a cinematográfica, na tentativa de alcançar uma fusão num único plano
analítico. Tentar-se-á demonstrar através desta ponte metodológica que é possível
estabelecer uma relação directa entre os vários elementos de um filme e os aspectos
estruturantes da banda sonora, manipulando a forma como um filme é recepcionado pelo
espectador.
This thesis aims to investigate the meaning of the soundtrack in cinema, an approach that tries to be multidisciplinary. There are several problems inherent to the presence of music in cinema. However, this was seen until recently as a secondary element in the literature. Therefore investigate what it transmits to the viewer at the level of perceptions and feelings, together with an ethnomusicological oriented approach to finding meaning in a correspondence with the other film components. The starting point for this analysis, and adopting an art-based research methodology is conducted from a soundtrack composed for the short film Pesadelo (Nightmare), directed by Rita Santana, which is used as an object of experimentation and application of composition techniques in filmic context. The analysis is complemented with analysis of case studies that contribute to support and understand some of the strategies adopted. Case studies address 6 films: Douro, Faina Fluvial by Manoel de Oliveira, The Shining by Stanley Kubrick, The Fearless Vampire Killers by Roman Polanski, Pierrot le Fou by Jean-Luc Godard, Smoking and No Smoking of Alain Resnais, and a composer: Bernard Herrmann. In either case will be analyzed procedures that relate to techniques applied in the central artistic subject in research, in order to understand how such procedures have implications for significance. Thus, it is the intention of this thesis to establish a methodological bridge between music theory and the film, in an attempt to meet the same analytical level and will try demonstrate through this methodological bridge that you can establish a direct link between the various elements of a film and the structural aspects of the soundtrack, manipulating the way a film is received by the viewer.
This thesis aims to investigate the meaning of the soundtrack in cinema, an approach that tries to be multidisciplinary. There are several problems inherent to the presence of music in cinema. However, this was seen until recently as a secondary element in the literature. Therefore investigate what it transmits to the viewer at the level of perceptions and feelings, together with an ethnomusicological oriented approach to finding meaning in a correspondence with the other film components. The starting point for this analysis, and adopting an art-based research methodology is conducted from a soundtrack composed for the short film Pesadelo (Nightmare), directed by Rita Santana, which is used as an object of experimentation and application of composition techniques in filmic context. The analysis is complemented with analysis of case studies that contribute to support and understand some of the strategies adopted. Case studies address 6 films: Douro, Faina Fluvial by Manoel de Oliveira, The Shining by Stanley Kubrick, The Fearless Vampire Killers by Roman Polanski, Pierrot le Fou by Jean-Luc Godard, Smoking and No Smoking of Alain Resnais, and a composer: Bernard Herrmann. In either case will be analyzed procedures that relate to techniques applied in the central artistic subject in research, in order to understand how such procedures have implications for significance. Thus, it is the intention of this thesis to establish a methodological bridge between music theory and the film, in an attempt to meet the same analytical level and will try demonstrate through this methodological bridge that you can establish a direct link between the various elements of a film and the structural aspects of the soundtrack, manipulating the way a film is received by the viewer.
Descrição
Palavras-chave
Cinema e música Música no filme - História e crítica Teses de doutoramento - 2017