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Su, Yen-ying. "Music and sound in post-1989 Taiwan cinema." Thesis, Royal Holloway, University of London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.588761.
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Although film music research has been on the rise over the last decade, most research has focused on the Hollywood tradition. An increasing number of projects focusing on film-scoring traditions other than Hollywood are nevertheless beginning to reveal the richness of localised traditions and increase our understanding of the purpose of film music elsewhere. This thesis is a study of music in Taiwan cinema, focusing on the period 1989-2009. After the 1987 lifting of martial law and the 1989 release of HOU Hsiao-hsien's celebrated A City of Sadness, restrictions on cultural production in Taiwan were relaxed and cash from other Chinese-speaking communities as well as European and American companies began to be invested in Taiwan cinema. This influx of foreign capital has combined with the cultures of multiple colonisers to create the heterogeneous approach to filmmaking and the hybrid musical cultures found in Taiwan today. How do all these changes affect our understanding of the relationship between music and moving images in Taiwan cinema? How has music in Taiwan cinema reflected and responded to changes to its internal and external environments? I shall examine these questions from three perspectives. In Part One I briefly summarise the country's cultural history in order to flesh out an argument about the environment in which film musicians were working. I also define important conceptual terms such as Taiwan cinema, Chinese-language cinema, Cultural China, transnational cooperation, and so on. In Part Two I investigate the influences of Chinese aesthetics on music in Taiwan cinema, particularly on HOU Hsiao-hsien's use of silence. In doing so, I suggest that the changing philosophy of silence in HOU's films reflects his response to political and cultural currents over the past two decades. In Part Three I examine music in martial arts films, particularly in Ang 3 LEE's Crouching Tiger, Hidden Dragon (2000). As an important genre in China and the first to gain popularity in the West, martial arts films have long been subject to transnational exchange; to study the role of music and musicality in martial arts films is therefore to gain a useful perspective on the shifting forces that have influenced Taiwan cinema and Chinese-language cinema over several decades. The success of Crouching Tiger has given rise to more frequent transnational exchanges in Taiwan cinema than before. In Part Four, I will examine the music in two more recent films, Cape No. 7 (2008) and Secret (2007), to examine film music's ability to reflect the struggles in today's Taiwanese society to construct its own cultural identity. 4
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Sergi, Gianluca. "The Dolby era : sound in Hollywood cinema, 1970-1995." Thesis, Sheffield Hallam University, 2002. http://shura.shu.ac.uk/20344/.
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Historically the understanding and appreciation of cinema have been shaped by a bias towards the image. Consequently, film sound has received little attention: today we know very little about how sound works in the cinema, especially in contemporary terms. My particular concern is to provide a first substantial account of sound in contemporary Hollywood cinema. Since the arrival of Dolby technologies in the early 1970s, the seismic nature of the changes that have taken place in mainstream cinema are so pervasive as to suggest that we are indeed in a new 'era' of cinema, the Dolby era. This period in the history of cinema has been characterised by a variety of factors such as the emergence of a new generation of filmmakers as well as a new 'kind' of audience. The thesis investigates these changes and their implications within a historical framework that has its roots in the 1960s, exploded in the 1970s, and matured beyond expectations over the past two decades. The thesis is structured around an exploration of the central features and figures that have characterised the Dolby era. It includes an examination of the reasons behind the success of Ray Dolby and Dolby Laboratories, as well as an analysis of the impact that technological innovations in film sound have had on filmmaking practices and the industry at large. The thesis advocates a move towards closer dialogue and integration between the world of academia and that of practitioners by focussing specifically on professional practices through a series of interviews with leading Hollywood practitioners. Finally, the thesis proposes an original approach to some key areas of film studies, namely film audiences, film narrative construction and film analysis.
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Apprich, Franziska-Maria. "Film-sound as art : a study of sound in cinema presented in theory and practice." Thesis, Queen's University Belfast, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.546002.
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Bastos, Maíza de Lavenère. "Sound and language in discourse." Florianópolis, SC, 2007. http://repositorio.ufsc.br/xmlui/handle/123456789/90508.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Inglês e Literatura Correspondente.<br>Made available in DSpace on 2012-10-23T11:41:47Z (GMT). No. of bitstreams: 1
244416.pdf: 495366 bytes, checksum: ece5b31c790c4a28c9f7071f79b9f72a (MD5)<br>Tendo em vista o crescente interesse por análises multimodais de diferentes tipos de mídia, meu objetivo neste trabalho é investigar como as relações e representações entre alguns dos personagens do filme "Cidade dos Sonhos", de David Lynch, são estabelecidos através de elementos não-verbais e verbais. Os elementos analisados são aspectos da trilha sonora e as escolhas lingüísticas dos personagens em quatro cenas do filme. Para isso, base teórica para a análise de trilha sonora desenvolvida neste trabalho se situa na área de multimodalidade, mais especificamente na área de semiótica do som proposta por van Leeuwen (1999). Somados à análise de elementos da trilha sonora, a perspectiva teórica aplicada à analise dos elementos verbais tem como base aspectos da Gramática Sistêmica Funcional proposta por Halliday (1984; Halliday & Matthiessen, 2004). Os resultados possibilitam o entendimento da construção de relações entre os personagens e classificação de detalhes importantes no filme, que são evidenciados pelo uso de qualidade de voz, juntamente com as escolhas lingüísticas dos personagens. Tais conclusões podem contribuir para o entendimento de como uma comunicação não-verbal e verbal pode construir relações e representações.
Bearing in mind the increasing interest for multimodal analysis of different types of media, my objective in this study is to investigate how relationships and representations among some of the characters of the film Mulholland Drive, by David Lynch, are established through non-verbal and verbal modes. The analysis focuses on elements of the soundtrack and the linguistic choices of specific characters in four scenes of the film. The theoretical basis for the analysis of the elements of the soundtrack derives from the area of multimodality according to the semiotic of sound as proposed by van Leeuwen (1999). And the theoretical perspective for the analysis of the verbal elements draws on aspects of Systemic Functional Linguistics as proposed by Halliday (1984; Halliday & Matthiessen, 2004). Results enable the understanding of the establishment of relationships among characters and classification of important details in the film, which are evidenced by the use of voice quality together with their linguistic choices. Such findings may contribute to the understanding of how representations and relationships may be built through non-verbal and verbal communication.
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McBane, Barbara. "Asynchronicities: sound-image disjunctions, deviant meanings, and Euro-American cinema /." Diss., Digital Dissertations Database. Restricted to UC campuses, 2007. http://uclibs.org/PID/11984.
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Johnston, Nessa. "Hearing DV realism : sound in millennial convergence cinema (1998-2008)." Thesis, University of Glasgow, 2013. http://theses.gla.ac.uk/4432/.
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At the turn of the millennium, some commentators hailed the advent of new digital video and computer technology as precipitating a ‘digital revolution’ in movie-making. However, this has been discussed and theorised primarily in terms of the image, with no consideration of sound. Adopting a sound-centric perspective, this thesis examines key feature-length works of digital movie-making over a ten-year timespan that share aesthetic and production characteristics, most of which have been critically positioned as a low-budget, digitally-enabled response to a perceived mainstream or precedent. Writing in 2002, Lev Manovich identified these works as a reaction to “the increasing reliance on special effects in Hollywood” (Manovich 2002: 213), and used the term DV realism to position the aesthetics of this cycle of features in opposition to the aesthetics of films heavily reliant upon digital special effects. These works tend to be characterised visually by the use of shaky, hand-held camera suggestive of unpredictable, documentary-like shooting conditions; moreover, they tend to eschew post-production special effects in favour of capturing the pro-filmic action as it spontaneously unfolds. I argue firstly that the lack of consideration of sound and its earlier digital turn in the late 1980s and early 1990s leads to over-emphasis of the ontological shift in image-making from celluloid to digital. Secondly, I demonstrate that the use of digital video to shoot features does not necessarily determine the aesthetics of sound in low-budget DV movies; in spite of this, the feature-length works analysed in this thesis share a stylistic approach to sound that I define as DV realist sound, after Manovich. Chapters 2 to 6 use textual analysis of sound-image relations in sets of sub-categories of DV realist digi-features. I argue that DV realist sound design uses the material qualities of location-recorded sound as a means of ‘authenticating’ the images accompanied, as well as sonic characteristics that intertextually reference other media. Now that shooting digitally is commonplace, this formal analysis represents a shift away from discussion of digital movie-making as ‘new’ and argues for millennial convergence cinema to be discussed quasi-historically, as a millennial trend within feature film-making reacting thematically and aesthetically to perceived shifts within media production.
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Dias, Fabiana Quintana 1982. "Orfeu = do mito à realidade brasileira uma análise da trilha sonora dos filmes "Orfeu Negro" (1959) e "Orfeu" (1999) baseados na peça "Orfeu da Conceição" de Vinicius de Moraes." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284437.
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Orientador: Claudiney Rodrigues Carrasco<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-19T06:51:07Z (GMT). No. of bitstreams: 1
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Previous issue date: 2011<br>Resumo: Esta pesquisa tem como objetivo estudar a trilha sonora dos filmes "Orfeu Negro", de Marcel Camus (1959) e "Orfeu", de Cacá Diegues (1999), integrando música instrumental, canção, sound design e edição de som enquanto elementos criativos das obras e sua relação com as outras linguagens que compõem a totalidade dos filmes. Será feita uma decupagem imagética e sonora analisando a trilha musical como recurso articulatório da narrativa fílmica. Serão observadas, também, as estratégias encontradas pelos diretores ao realizar a transcrição do mito Orfeu para a linguagem audiovisual. A dramaturgia dos filmes será analisada a partir de sua referência direta que é a peça "Orfeu da Conceição" de Vinicius de Moraes, que antecipou musicalmente a bossa nova. A análise compreenderá, ainda, o modo pelo qual a música se insere na dramaturgia específica do cinema e a importância do pensamento sonoro cinematográfico. O universo musical de Orfeu é tão vasto que, para se compreender as trilhas musicais dos filmes, será necessário visitá-lo em sua longa história, nas várias manifestações do mito, especialmente as dramático-musicais<br>Abstract: This reseach deals about the Orfeu's soundtrack including music, songs, sound design and sound edition from the movies "Black Orpheus", directed by Marcel Camus (1959), and "Orfeu", directed by Cacá Diegues (1999), likewise a creative elements and their relationships the sound and film language as a whole. The Orfeu's musical universe is so great that, to understand the soundtracks of the movies it's necessary visit and know the history of musical dramaturgy, in what many manifestations of the myth are found. The objective is to make an image and sound decupage by means of an analysis of the soundtrack as a narrative film resource. There'll be analysed too the director's strategies to make the transcription of the Orpheu's myth using the conventions of the film's language. The start point is the seminal work of Vinicius de Moraes - "Orfeu da Conceição" - that influences bossa nova and the related films. These analysis will include, either, the way music is used to articulate the dramaturgy in those movies, and the importance of the cinematografic's musical thought<br>Mestrado<br>Multimeios<br>Mestre em Multimeios
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Costa, Sandro Dalla. "Restauração sonora: um estudo sobre técnicas para restauração e experiências realizadas no cinema." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-13092013-114744/.
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Este trabalho tem como proposta discutir a restauração sonora de filmes no Brasil. Através de entrevistas realizadas com profissionais da área de som que já participaram de diversos projetos com este objetivo, da pesquisa de textos sobre o assunto e da experiência do seu autor nessa área, o texto busca oferecer um panorama acerca das questões técnicas e dos procedimentos de trabalho envolvidos nas etapas da restauração sonora, bem como um histórico de alguns dos trabalhos já realizados e das principais dificuldades encontradas pelos profissionais que atuam nesse campo. Como resultado, o presente trabalho busca apresentar as diferentes filosofias de trabalho que tendem a ser assumidas para o processo de restauração sonora e como cada escolha pode afetar a originalidade e o conceito da obra. Assim, mais do que na discussão teórica sobre a restauração, o viés desse trabalho incide na relação entre técnica e postura conceitual do restaurador, bem como no modo como essa relação afeta o resultado da restauração descrito pelas experiências práticas destes profissionais.<br>This work aims at discussing movie audio restoration in Brazil. By means of interviews with audio professionals who have previously worked on such projects, research on writings about the subject, and the author\'s own experience in the field of sound restoration, this work tries to offer a panorama of the technical questions and operating procedures involved in sound restoration. It also offers a history of previously performed work and expounds the main difficulties faced by professionals working in this area. As a result, this study presents the different work philosophies that are most commonly adopted during the sound restoration process, and how each choice can affect the originality and conception of the work. Thus, more than a theoretical discussion on restoration, this work concentrates on the relationship between the technique and the conceptual posture of the restorer, as well as the way this relationship influences the restoration results as described by these professionals practical experience.
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Ouédraogo, Adama. "Les nouveaux formats sonores dans le champ de l'esthetique du cinéma." Thesis, Toulouse 2, 2013. http://www.theses.fr/2013TOU20131.
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Introduit au cinéma quelques dizaines d'années après la naissance de cet art, le son a toujours fait sentir la place qui est la sienne. De nos jours encore, même si beaucoup de progrès comme la synchronisation avec l'image, l'acceptation du son dans la création cinématographique, l'amélioration de la qualité du son, la spatialisation-enveloppement du son sont entre autres des éléments à saluer, ce dernier, surtout dans sa relation avec l'image filmique semble être laissé à la merci des firmes qui se disputent le marché. Les documents qui traitent de ce domaine n'existent presque pas hormis quelques lignes dans certaines revues. Des questions demeurent sans réponse : pourquoi l'emploi du son multicanal au cinéma ? Quelles raisons esthétiques poursuivies aux regards des points de vue aristotélicien et kantien de l'art ?<br>Introduced to the cinema a few decades after the birth of this art, sound has always felt the place is hers. Even today, although much progress as synchronization with the image, the acceptance of sound in film creation, improved sound quality, the spatial-wrap are among its other elements greet. The latter, specializing and envelope with the audiovisual films seem to be left to thank you for firms that compete in the market. Documents that address this area are hardly except in some few lines reviewed. Questions remains unanswered why the use of multichannel sound in cinema? What could be the reasons for the continued aesthetic according to Aristotelian and Kantian theories of art?
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Baker, Michael. "Rockumentary: style, performance, and sound in a documentary genre." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=104569.
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Rockumentary: Style, Performance, and Sound in a Documentary Genre is the comprehensive study of an audio-visual genre concerned with the nonfictional representation of rock music and related idioms. Sparked by the explosive rise in popularity of rock music in the 1960s, rockumentary follows a trajectory tracing the broader history of documentary practice, at times serving to reshape that history and at others providing the clearest examples of documentary's limits and potentials. It both captures and contributes to histories of documentary film and popular music generally, and rock music and rock culture specifically. It is noteworthy for its visual style, innovation in the area of film sound technology, and the complex industrial interactions which in part foster its development. Moreover, rockumentary serves as an early and ongoing example of the negotiation of the presence of stars and staged spectacles in the context of nonfiction film and video. It is the site where the anxieties about sound and the documentary image—an unease which runs throughout the history of cinema and has specific implications within the context of nonfiction film—are particularly acute, and the various conceptual and sociological issues surrounding film as a mediation of live experience versus a wholly constructed entity are crystallized most concretely. This dissertation presents rockumentary as an audio-visual genre with both artistic relevance and commercial appeal, and poses questions about the role of pleasure as a means of differentiating the corpus from other nonfiction film and video genres. Through textual analysis, reception studies, and documentary research, this dissertation contributes to film, media, and popular music studies, and lays the foundation for the study of nonfiction representations of popular music in contemporary moving images and new media.<br>Rockumentary: Style, Performance, and Sound in a Documentary Genre est une étude approfondie d'un genre audio-visuel dédié à la représentation non-fictive de la musique rock et de ses idiomes. Née de l'explosive croissance de popularité de la musique rock dans les années 60, le rockumentaire évolue en bordure de l'historique plus large de la pratique documentaire, se trouvant parfois à la remodeler et parfois à démontrer les limites et le potentiel du genre. Le rockumentaire contribue à l'histoire du documentaire et de la musique populaire en général, ainsi qu'à celle de la culture et de la musique rock. Il se démarque par son style visuel, son innovation dans le domaine de la technologie sonore cinématographique et par les relations industrielles complexes qui ont favorisé son développement. En outre, le rockumentaire met en évidence les tractations entre la présence de prestations misent en scène et de vedettes dans le cadre de films et de vidéos de non-fiction. Le rockumentaire est un lieu où les angoisses liées au son et à l'image documentaire – un malaise qui traverse l'histoire du cinéma et qui a des implications précises dans le contexte du cinéma de non-fiction – sont particulièrement vives. Également, les questions conceptuelles et sociologiques qui entourent le cinéma en tant que médiation de l'expérience en direct par rapport à une entité fabriquée y sont cristalisées de manière des plus concrètes. Cette dissertation présente le rockumentaire comme un genre audio-visuel ayant à la fois une pertinence artistique et un attrait commercial qui remet en question le rôle du plaisir comme manière de différencier le corpus des autres genres de films et de vidéos de non-fiction. Avec l'aide de l'analyse textuelle, d'études de réception et de recherche documentée, cette dissertation est un apport dans le domaine des études cinématographiques, médiatiques ainsi que des études de la musique populaire, puisqu'elle jette les bases sur l'étude des représentations non-fictives de la musique populaire dans les nouveaux médias et les images contemporaines.
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au, Collin Chua@uts edu, and Collin Chua. "Re-Sounding Images: Sound and Image in an Audiovisual Age." Murdoch University, 2007. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20080526.111205.
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This dissertation examines the evolving articulation of sound and image in
contemporary culture, with particular reference to film. It argues that sound and image
have undergone a historical machined separation, followed by a machined fusion or
recombination. The machined fusion of sound and image has enabled the creation of
soundful images, which are more than simply the sum of their parts. Through the infusion
of sound, images are now routinely reinforced with a performed sense of presence, where
they are made to sound more real, more powerful, more authentic. Through association
with the image, sounds are reinforced to the extent of becoming realer than real. By
tracing the history of sound and image from their initial machined separation to their
subsequent machined fusion, it will be argued that a new relationship has been created
that has shaped an influential new mode of communication and perception.
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Stober, JoAnne. "That's not what I heard, synchronized sound cinema in Montreal, 1926-1931." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ64013.pdf.
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Alves, Bernardo Marquez. "Os estudos do som no cinema: evolução quantitativa, tendências temáticas e o perfil da pesquisa brasileira contemporânea sobre o som cinematográfico." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-19112013-154644/.
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Esta dissertação pretende mapear e discutir o pensamento sonoro cinematográfico dos pesquisadores brasileiros contemporâneos através de uma revisão sistemática que aborda a evolução quantitativa, as tendências temáticas e o perfil da pesquisa brasileira contemporânea sobre o som no cinema. Os estudos selecionados para tal investigação e análise foram os livros, as teses, as dissertações e os artigos acadêmicos nacionais que contemplam o universo sonoro cinematográfico, publicados no Brasil no período entre os anos 2001 e 2011, e que articulam essencialmente questões que não são específicas da trilha musical<br>This master thesis aims to map and discuss the film sound thinking of contemporary brazilian researches through a systematic rewiew that approach the quantitative developments, the thematic tendencies and the profile of Brasilian contemporary film sound studies. The studies selected for this research and analysis were national books, doctoral theses, master´s theses and academic articles the address the universe of film sound published in Brasil between 2001 and 2011, and essentially articulate issues that are not specific of the film score
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Pinton, Filho Nelson 1974. "A Trilogia da Morte de Gus van Sant : sons, conceitos e paisagens sonoras." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285252.
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Orientadores: Claudiney Rodrigues Carrasco, Eduardo Simões dos Santos Mendes<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-26T01:35:33Z (GMT). No. of bitstreams: 1
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Previous issue date: 2014<br>Resumo: Um olhar atento para os eventos que compõe a trilha sonora da Trilogia da Morte de Gus van Sant: Gerry (2002), Elephant (2003) e Last Days (2005). Os materiais sonoros são tratados como um aliado, auxiliando na construção narrativa. De maneira geral, incorporam músicas de paisagens sonoras, cujos fonogramas originais são combinados aos demais elementos da banda sonora, resultando numa mixagem particular e surpreendente que impacta na montagem fílmica, nos processos inerentes e complexos do tempo, nas tensões sonoras internas compostas de timbres e no resultado cognitivo para o espectador. Esta pesquisa auxilia na compreensão do processo de sound design, surgido em meados dos anos 70, e que se estabelece nos dias atuais como forma expressiva de tratar os sons nos filmes<br>Abstract: A closer look at the events that comprehend the soundtrack of Gus van Sant's Death Trilogy: Gerry (2002), Elephant (2003) and Last Days (2005). These films use the sound material as an ally, which helps the narrative construction. In general terms, they make use of pieces of soundscape music, the original phonograms are blended with other elements of the soundtrack, thus producing a new and surprising mix that impact in the film montage, e.g. the inherent and complex time, the inner sound tensions made of timbres and cognitive results in the audience. This research helps to understand the sound design process, which appeared in the mid 70¿s and establishes itself in the present days as an expressive form to treat sounds materials in movies<br>Doutorado<br>Multimeios<br>Doutor em Multimeios
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Souza, João Baptista Godoy de. "Procedimentos de trabalho na captação de som direto nos longas-metragens brasileiros Contra todos e Antônia: a técnica e o espaço criativo." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/27/27153/tde-02062011-111819/.
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Este estudo é uma reflexão sobre a prática de trabalho do registro sonoro sincrônico centrado na descrição e na análise dos procedimentos empregados na captação de som direto na realização dos longas-metragens brasileiros Contra todos e Antônia. A prática do registro sonoro sincrônico é conceituada como um método de trabalho compartilhado por uma categoria profissional, com procedimentos norteados por parâmetros técnicos que se conformaram precocemente no período de transição para o cinema sonoro durante a constituição do código de representação do cinema clássico norte-americano. Dependente da tecnologia, o método de trabalho de captação de som direto reestrutura-se com o advento de novas ferramentas, permitindo o surgimento de formas alternativas de realização. As experiências analisadas permitem perceber o amplo espectro de escolhas envolvidas na atuação do profissional do som direto, indicando a existência de uma componente criativa na aplicação e desenvolvimento desta prática de trabalho. Premissas particulares de realização, condicionantes orçamentárias e o advento de nova tecnologia estimulam o surgimento de procedimentos que dinamicamente reanimam o tradicional método de trabalho de captação de som direto.<br>This study is a reflection on the working methods of synchronous sound recording focusing on the description and analysis of the procedures used in the sound recording of the Brazilian feature films Contra todos and Antônia. The practice of synchronous sound recording is conceived as a working method shared by professional recordists, with procedures guided by technical parameters that surfaced very early in the transition period from silent to sound films, then to the establishment of representational standards of the American classical cinema. Being technology dependent, the working method of sound recording renews itself with the coming of new tools, that enables new ways of working. The experiences in focus reveal the broad spectrum of choices involved in the practice of the sound recordist, unveiling the existence of a creative component in the process. Production issues, budgetary constraints and the advent of new technology stimulate the emergence of procedures that dynamically reform the traditional working method in sound recording.
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Santos, Gustavo Nascimento dos. "Um cinema para os ouvidos: mapeando o radiodocumentário." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-09032017-101526/.
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Este estudo busca demonstrar de que maneira o documentário, gênero originalmente cinematográfico, desenvolve-se no rádio. Entendido como uma narrativa autoral de não-ficção, trata-se de um gênero radiofônico pouco conhecido no Brasil. Para mapeá-lo, analisamos esse objeto sob diversos aspectos. Em primeiro lugar, buscamos contextualizá-lo dentro de um campo de estudo do Rádio Autoral. Considerando sua estreita relação com o documentário audiovisual, comparamos essas duas formas de abordagem e representação do real. Buscamos, em seguida, a definição de um conceito de radiodocumentário, apontando para as diferentes terminologias que congregam esse repertório de peças ao redor do mundo. Posteriormente, elencamos os elementos que compõe sua linguagem e descrevemos seu desenvolvimento histórico em alguns países, sob a perspectiva técnica e estética. Além disso, discutimos a presença do dispositivo documental no passado do rádio brasileiro e contextualizamos a presença do gênero no Brasil. Considerando que as novas formas de distribuição de áudio em plataformas digitais vêm transformando, nas últimas duas décadas, o modo de produção, difusão e o status cultural do radiodcumentário, propomos um estudo comparativo de dois modelos representativos do panorama contemporâneo: a webrádio francesa ARTE Radio e o programa semanal americano This American Life. Por fim, analisamos alguns exemplos de radiodocumentários desses dois modelos.<br>This research aims at demonstrating how the documentary, originally a film genre, develops into a radio format. Understood as an authorial nonfiction narrative format, it is a radiophonic genre almost unknown in Brazilian radio. To map it, we analyzed this object in several aspects. Firstly, we attempted a contextualization within the \"authorial radio\" field of study. Considering its close relationship with the audiovisual documentary, we compared these two formats with respect to their approach on representing reality. We, then, pursued a definition for the concept of radio documentary, pointing at the different terminologies of this repertory from around the world. Later, we listed the elements that compose its language and described the historical development of the radio documentary under the technical and aesthetic perspective in some countries. Furthermore, we discussed the presence of the documentary approach format in Brazilian radio and demonstrated how the genre presents itself in Brazil. Noticeable changes regarding the production model, distribution and the cultural status of the radio documentary have been noticed over the past two decades. A comparative review with respect to two contemporary models was then proposed: the French web radio ARTE Radio and the weekly American radio show This American Life. Finally, we analyzed some examples of these two models.
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LOUVIOT, JACQUELINE. "Le regard de sight and sound sur le cinema britannique des annees 50 et 60." Université Marc Bloch (Strasbourg) (1971-2008), 1997. http://www.theses.fr/1997STR20082.
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Grace a son eclectisme et a d'indeniables qualites formelles, la revue sight and sound, lancee en 1932 puis publiee par le british film institute, assura bientot sa reputation a l'echelle internationale. Pendant ce temps, et malgre une embellie pendant la deuxieme moitie des annees 50 et le debut des annees 60 avec le free cinema puis la british new wave, le cinema britannique restait fort mal considere tant dans son propre pays qu'a l'etranger. Cette these s'interroge sur l'attitude de la revue a l'egard de son cinema national pendant ces deux decennies determinantes de son histoire. A la fois bastion institutionnel finance sur fonds publics et pendant quelque temps tribune du plus virulent des polemistes, le realisateur lindsay anderson, son role peut en effet sembler des plus ambigus. Plus sociologique qu'esthetique, cette approche doit beaucoup a la pensee de pierre bourdieu. Il apparait que la revue, apres avoir tente d'assurer au cinema la legitimite qui lui faisait defaut en s'appuyant sur les valeurs sures du passe, telles que les enjeux ethiques ou les cautions litteraires, s'est ensuite tournee vers la france pour lui emprunter sa nouvelle vision du cinema. En definitive le cinema britannique semble avoir fait les frais d'une ligne editoriale relativement conformiste, privilegiant elitisme et cosmopolitisme<br>Inspired by the views of sociologist pierre bourdieu, this thesis addresses the way the distinguished film magazine sight and sound published by the british film institute assessed the national cinema during the fifties and sixties. Mainly concerned with the still uncertain legitimacy of cinema, wouldn't the editorial board sacrifice the british production in the name of higher stakes such as its own claims to authority?
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McGill, Amy. "The contemporary Hollywood film soundtrack : professional practices and sonic styles since the 1970s." Thesis, University of Exeter, 2008. http://hdl.handle.net/10036/41173.
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Since the 1970s, the soundtrack in Hollywood has come of age as a complex and sophisticated site of cinematic art. Greater combinations of sounds expressing a wider spectrum of tones, textures and volumes can be heard at the movies more than ever before, while behind the scenes, the number of personnel producing them has grown considerably. Moreover, this era has witnessed a proliferation of different artistic and professional approaches to sound. This thesis provides a detailed and wide-ranging picture of these developments and how they were ultimately affected by changes within the American film industry. Drawing on a range of accounts by contemporary sound practitioners and critics, the thesis explores sound production practices, focusing on the sound designer and composer, their creative choices, collaborative relationships - or “sound relations” - and the technologies they employ. The soundtrack is also examined in terms of “sonic style”: the ways in which sound effects, music and the voice function variously in the service of contemporary film narration and genre. It is argued that Hollywood sound production practices and styles have diversified to a high degree, particularly during the last three decades. Industrial realignments on the “New Hollywood” landscape in the 1970s and the integration of the independent and major sectors throughout the 1990s have introduced greater flexibility to mainstream filmmaking norms. These events have played key roles in the expansion of its different sonic styles and working practices in contemporary Hollywood. I take George Lucas and David Lynch, their respective sound design partners Ben Burtt and Alan Splet and composers John Williams and Angelo Badalamenti, and identify distinctions between their professional modus operandi and sonic styles to illustrate the growing diversification within the industry. Most importantly, these examples are used to demonstrate both the intricacy and variety that characterises the styles and crafts of the contemporary Hollywood soundtrack.
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Iwamizu, Rosana Stefanoni. "Foley no Brasil." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-26052015-121357/.
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Esse trabalho discute o foley brasileiro através da apresentação de aspectos técnicos, estéticos e históricos dessa atividade. A partir de entrevistas com profissionais da área e da experiência profissional da autora em foley, é traçado um panorama da atividade que compreende: os usos do foley na trilha sonora cinematográfica; técnicas de gravação; o desenvolvimento da atividade no país dos anos 1950 até hoje; e a observação dos estúdios e artistas de foley brasileiros mais proeminentes em atividade.<br>The present work discusses the Brazilian foley by presenting technical, aesthetic and historical aspects of the activity. Through interviews with foley professionals and the professional expertise of the author, this overview of Brazilian foley comprehends: the use of foley in the film soundtrack, recording techniques, the development of the activity in Brasil since the 1950´s, and the observation of the most prominent foley studios and foley artists in Brazil at the present.
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Gedemer, L. A. "A new method for measuring and calibrating cinema audio systems for optimal sound quality." Thesis, University of Salford, 2017. http://usir.salford.ac.uk/42005/.
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The aim of this research is to utilize new methodologies and technology in order to gain insight into how the modern cinema audio system could be calibrated to provide improved audio performance. To this end, both objective and subjective measurements were developed to better understand the audio preferences of listeners, the requirements of the audio systems inclusive of the acoustic environment, and how the two are related. Part of the data for this research was derived from a survey of re-recording mixers regarding their use and opinion of the current SMPTE standard. The survey confirmed anecdotal information suggesting that re-recording mixers use high-end pre-emphasis to compensate for the severe roll-off induced by the SMPTE X-curve. It is also noted that the re-recording mixers' opinions of how well their mix translates from dub-stage to cinema is correlated to how many years they have spent in the industry. The aim of this research is to utilize new methodologies and technology in order to gain insight into how the modern cinema audio system could be calibrated to provide improved audio performance. To this end, both objective and subjective measurements were developed to better understand the audio preferences of listeners, the requirements of the audio systems inclusive of the acoustic environment, and how the two are related. Part of the data for this research was derived from a survey of re-recording mixers regarding their use and opinion of the current SMPTE standard. The survey confirmed anecdotal information suggesting that re-recording mixers use high-end pre-emphasis to compensate for the severe roll-off induced by the SMPTE X-curve. It is also noted that the re-recording mixers' opinions of how well their mix translates from dub-stage to cinema is correlated to how many years they have spent in the industry. To further understand listener preference to in-room responses curves, a series of listening tests utilizing the BRS system were conducted using various sized cinemas, seating positions within the cinemas, audio tracks (including those mixed on a SMPTE calibrated dub-stage) and target curves. The overwhelming outcome was that regardless of cinema size, seating position or audio track utilized; the "curve" that listeners preferred is a relatively flat 0.9dB/octave slope with a 6.5dB bass boost below 105Hz and a -2.5dB roll off above 2.5kHz. Of the 5 target curves presented, the SMPTE X-curve place fourth with scores very near the low-rated perceptual anchor. This calls into question the notion of the X-curve providing "ideal" translation between dub-stage and cinema and in fact, challenges the concept of translation all together. Research was completed in an effort to identifying the number of microphone positions required, along with their placement, in order to accurately capture a cinema's response for calibration purposes. A novel experiment utilizing anechoic loudspeaker data as a guideline for xxi analysis demonstrated that, with proper data, the number of microphones and their positions plays a less critical factor in determining the room response. The collected data shows that even with as few as 4 microphones at varied positions, the resultant room response will trend towards the anechoic data above 1kHz. From around 300Hz to 1kHz, there is evidence of seat effects that may be resolved through randomizing the microphone heights. Below 300Hz, the room becomes the dominating factor and more than 5 microphone positions will be required to properly identify any problems.
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Talijan, Emilija. "An extreme ear to the world : noise in contemporary European cinema." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/285103.
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This thesis examines a recent shift in attention to the auditory present in a strand of post-1999 contemporary European film and philosophy. It argues that noise, defined predominantly as unpleasant or unidentifiable sound, has been harnessed by particular filmmakers as a means to tune our attention to different bodies sounding in our environment. Yet while the ear is an organ we perceive to be open, it could always be receiving more. This limit to our audition is a limit the filmmakers examined here productively engage with in ways that raise questions about the politics and ethics of listening to different bodies. The thesis takes Jean-Luc Nancy's articulation of the listening body, what he calls the corps sonore, to posit a theory of a 'cinematic corps sonore' where the boundaries between on-screen bodies, medium and spectator are dissolved in the mutual vibratory soundings that characterise the state of being 'all ears'. In doing so, the thesis offers a revision of the haptic framework that has dominated recent sensuous theories of film as well as applications of Nancy's thought to film in the inter-discipline of film philosophy. The analysis proceeds via close readings of individual films to consider how noise tunes us to different bodies and the specific issues raised in doing so in ways that resonate beyond the philosophical limits of Nancy's corps sonore. Chapter one examines the 'unlistenable' in the work of Catherine Breillat and Gaspar Noé. It revises accounts of the supposed 'unwatchability' of Breillat and Noé's cinema by examining their respective appeals to volume and frequency, revealing both the possibility of intimacy and the risk of vulnerability that the corps sonore poses. Chapter two takes the corps sonore to the question of national borders and social bodies by bringing post-colonial theorist Édouard Glissant's concept of the écho-monde to Tony Gatlif's Exils (2004) and Arnaud des Pallières' Adieu (2004). It argues that both filmmakers appeal to the migratory properties of noise to think through questions of identity, relation and the different degrees of belonging that sound inscribes. The final chapter asks whether cinema constitutes a site that allows for an amplification of the nonhuman. Attention is given both to the practice of Foley and to the use of Foley in Lars von Trier's Antichrist (2009) and Peter Strickland's Berberian Sound Studio (2012) to show how a non-coincidence between body and sound figures cinema as a place of resonance, animated by the scattered structure of dynamic relations between things that Foley brings about. Yet the chapter also casts doubt over the possibility of noise indicating something outside of human world-projection and as such, disrupts the otherwise increasingly prehensile attention that I argue filmmakers have been able to pay to the body through the auditory.
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Valencise, João Miguel. "A chegada do som nos cinemas de São Paulo segundo a Folha da Manhã (1928-1933)." Universidade Federal de São Carlos, 2012. https://repositorio.ufscar.br/handle/ufscar/5597.
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Previous issue date: 2012-08-09<br>Financiadora de Estudos e Projetos<br>This dissertation focuses on study and observation of the period of transition from silent films to sound films in movie theaters at São Paulo City, as recorded by the pages of Folha da Manhã newspaper between 1928 and 1933. It aims to investigate and understand how adaptations to this new technology were proceeded in exhibitors market. Besides this strictly technical question (including the availability of national projection equipment), this study sought to offer a narrower look at several aspects related to this process, such as the several ways of presentation of the cinematographic product, the presence of national movie pictures at the 1920s and the conformation of movie market at São Paulo state capital.<br>A presente dissertação centra-se no estudo e observação do período de transição entre o filme silencioso e o sonoro nas salas de cinema da cidade de São Paulo, registrado nas páginas do jornal Folha da Manhã entre 1928 e 1933. Ela tem como objetivo investigar e compreender como se processaram as adaptações do mercado exibidor a esta nova tecnologia. Além da questão especificamente tecnológica, incluindo-se a disponibilização de equipamentos nacionais de projeção, este estudo buscou lançar um olhar mais amplo sobre diversos aspectos envolvidos neste processo, tais como as diversas formas de apresentação do produto cinematográfico, a presença do cinema nacional na década de 1920 e a conformação do mercado de filmes na capital paulista.
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Wise, Ramsay. "University of the future : Sight and Sound 1932-1942, a discourse in cinema and propaganda /." free to MU campus, to others for purchase, 2003. http://wwwlib.umi.com/cr/mo/fullcit?p1418077.
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Ceretta, Fernanda Manzo. "O design de som de monstros do cinema: uma cartografia dos processos de criação de identidades sonoras na construção de personagens." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21201.
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Previous issue date: 2018-06-26<br>Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq<br>This research analyzes the sound design of movie monsters, especially their voices.
Chewbacca (Star Wars, 1977), Godzilla (1954) and Predator (1987) constitute our
corpus. These monsters have voices composed by designers who have experimented
different creation processes, using sounds generated by nature, body and manipulated
objects, in order to create the sound identity of these characters. We investigate the
contexts of these creation processes and the resulting sounds in their particularities to
make a proposition of a method for creating the sound of monsters. Our method covers
the potential sources of base sounds and other sonic characteristics such as
frequencies, timbre and intensity. The research was based in the observation of the
selected audio-visual materials and in the documentation available regarding the making
ofs (which is vast, given the popularity of the selected monsters). The thesis is based
mainly on articulations with the works of Rick Altman, Michel Chion and William
Whittington, on the cinematographic sound, and of Theo Van Leeuwen in his proposition
of sonorous analysis<br>Este trabalho analisa o sound design de monstros do cinema, sobretudo suas vozes.
Chewbacca (Star Wars, 1977), Godzilla (1954) e Predador (1987) constituem o corpus
da presente pesquisa. Estes monstros possuem vozes compostas por designers que
experimentaram diferentes processos de criação, utilizando sons na natureza, do corpo
e de objetos manipulados para criar a identidade sonora destas personagens.
investigamos os contextos destes processos de criação e os sons criados, em suas
particularidades, para compor uma proposta de método de composição de som de
monstros, o qual abarca as potenciais fontes dos sons de base e demais características
sonoras, como frequências, timbres e intensidade. A pesquisa foi feita a partir da
observação dos materiais audiovisuais selecionados e do resgate da documentação
disponível sobre os bastidores da criação dos mesmos (bastante vasta dada a
popularidade dos monstros selecionados). A tese se baseia sobretudo em articulações
com obras de Rick Altman, Michel Chion, William Whittington acerca do som
cinematográfico e em Theo Van Leeuwen em sua proposição de análise sonora
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Flôres, Viginia Osorio. "Além dos limites do quadro : o som a partir do cinema moderno." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284533.
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Orientador: Claudiney Rodrigues Carrasco<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-22T15:33:31Z (GMT). No. of bitstreams: 1
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Previous issue date: 2013<br>Resumo: No cinema, o uso do som fora do quadro visual tem larga experimentação e utilização nas diferentes cinematografias, principalmente a partir do pós-guerra. Com o cinema moderno, a utilização e manipulação antirrealista do som trouxe, para a trilha sonora dos filmes, uma significante contribuição. Esse é o principal foco de interesse do trabalho que percorreu, com a pesquisa, as diferentes utilizações do som desde o cinema clássico até o cinema contemporâneo; investigou as potencialidades do imaginário quando som e imagem visual aparentemente se desvinculam e geram imagens mentais múltiplas e abertas; e buscou compreender como comunicações abertas influenciam a recepção dos filmes. Nossa pesquisa também demonstrou que o som é um elemento importante do audiovisual que contribui para a crítica e a compreensão da vertente estética a que os filmes se vinculam. O conhecimento dos procedimentos usados com o som nos filmes é um horizonte para a compreensão do fazer cinematográfico e para o entendimento de como um processo de autoria se constitui nos cinemas de expressão artística. Durante todo o percurso do trabalho foram usados exemplos de filmes nacionais e internacionais. Para finalizar, quatro filmes da fase contemporânea do cineasta Júlio Bressane serviram de estudo de caso: Miramar, São Jerônimo, Dias de Nietzsche em Turim e Filme de Amor<br>Abstract: In cinema, offscreen sound has been widely used in different cinematographies, especially after World War II. In modern cinema, the antirealistic use and manipulation of sound have made significant contributions to film scores. This is the main focus of our work, which researches the different uses of sound, from classic to contemporary cinema; investigates the potentialities of the imaginary when sound and visual image are apparently disconnected from each other, creating multiple and open mental images; and seeks to understand how open messages affect the way films are perceived by the receivers. Our study also demonstrates that sound is an important audiovisual element to understand the aesthetic groups to which each film belongs. Understanding the different uses of sound in films is a way to understand filmmaking itself and the process of authorship in art cinema. A wide range of films, from both Brazilian and foreign cinema, is analyzed throughout this research. Four feature films from director Júlio Bressane's contemporary work are used as case studies: Miramar, São Jerônimo, Dias de Nietzsche em Turim e Filme de Amor<br>Doutorado<br>Multimeios<br>Doutora em Multimeios
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Natzén, Christopher. "The Coming of Sound Film in Sweden 1928-1932 : New and Old Technologies." Doctoral thesis, Stockholms universitet, Filmvetenskapliga institutionen, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-42168.
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This dissertation examines the coming of sound film in Sweden during the years 1928–1932, and the reception of mechanically recorded sounds both in the trade press and among audiences. The novelty of sound film opened up for a negotiation of the perception of sound and image, as it made visible the film medium’s technological construction, before this visibility was once more absorbed by the cinematic discourse. The conversion to sound film is considered from three perspectives -- technology, reception and practice -- as well as through the concept of intermediality, focussing how the audio-visual expression changed during this period. Chapter 1 “Image, Sound, Audience I: ‘Constructed’ sounds - the visibility of technology” deals with these issues prior to the conversion to sound, and the following intermediate years, until sound film had reached a certain equilibrium. Chapter 2 “Production – The Companies” deals with the production and the major Swedish sound companies. Particular attention is given to how formative music in their films transforms itself into a consistent use of non-diegetic music two years before this happened in Hollywood. Chapter 3 “Reception – The Cinemas” addresses the topic of the reception of the first sound films in Sweden during 1929. The argument is that the audience’s re-awakened awareness of the technology described in Chapter 1 was an active part in this process, and that their reactions led back into the advertising campaigns, making them participants in the cinematic event. Chapter 4 “Practice – The Musicians” continues this debate from a musician’s point of view. This chapter turns the focus upside down and looks at the arrival of sound film from a grass-roots perspective. While chapter 4 diverts somewhat in dwelling on issues that do not strictly deal with the conversion to sound, it serves to contextualise a technological invention that changed not only film production and reception, but also had very concrete social repercussions for those that created the sounds of music. Chapter 5 “Image, Sound, Audience II: ‘Authentic’ sounds - the disappearance of technology” dovetails with Chapter 1, addressing similar phenomena at a time when these had become fully integrated and the technology once more became invisible.
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Nascimento, Fernanda Gomes do. "A voz em estúdio: o uso audiovisual da dublagem e do diálogo pós-sincronizado no Brasil." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-01062015-153755/.
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Esta dissertação propõe investigar o uso da Dublagem e do Diálogo Pós-Sincronizado no mercado brasileiro, além de traçar comparações de seu uso em outros países. O estudo se apoia em três aspectos: definição e ideologias de utilização, técnicas empregadas e panorama histórico de aplicação em produtos audiovisuais.<br>This thesis proposes to analyses the application of Dubbing and ADR techniques in Brazilian Cinema and Television Market, as well as stablishing comparisons in between applications of the same technique in other countries. The research has three points of view: word definition and ideologies of its application, technical aspects of the practice in Brazil and a historical panorama of Dubbing and ADR uses in Motion Pictures.
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Pereira, Kira Santos. "Se podes ouvir, escuta: a gênese audiovisual de Ensaios Sobre a Cegueira." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/27/27153/tde-17022011-145400/.
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A dissertação procede a uma investigação do processo de criação do filme Ensaio Sobre a Cegueira, através de entrevistas e recuperação de material memorial dos membros da equipe. Os materiais foram analisados segundo a metodologia da Crítica de Processos como proposto por Cecília Salles. São abordadas também as relações audiovisuais das várias versões de filme, seguindo os preceitos propostos por Michel Chion, Robert Bresson e Randy Thom. O objetivo do trabalho é elucidar procedimentos que favoreçam uma construção audiovisual onde o som participe ativamente da narrativa.<br>The thesis investigates the creation process of the movie Blindness, through interviews memorial materials of the film crew. For that purpose, the methodology of the Criticism of Processes as proposed by Cecília Salles was used. It also boards the audiovisual relations of various versions of the movie, following the precepts proposed by Michel Chion, Robert Bresson and Randy Thom. The thesis aims to elucidate ways of audiovisual construction where sound participates actively in narrative.
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Terezani, João Henrique Tellaroli. "Ouvindo vazios : os silêncios em A erva do rato e Cleópatra de Júlio Bressane." Universidade Federal de São Carlos, 2014. https://repositorio.ufscar.br/handle/ufscar/7408.
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Previous issue date: 2014-08-29<br>Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)<br>This work aims to discuss the representation of silence in films. Our objects of study
are the films Cleópatra and A erva do rato both by Julio Bressane, since the phenomenon of
silence emerges as a recurring theme in the style of this director. The analyzes found in this work
focus on the discussion of the phenomenon linked to its discursive, and its physical appearance,
and also about its manifestations in artistic fields like music, poetry and cinema. To do so, we had
as main references studies of Paul Théberge, Fernando Morais da Costa, Virginia Flores about
the sound in cinema, John Cage, Susan Sontag, José Miguel and Jorge Antunes Wisnik on the
representativeness of silence for the arts in general.<br>Essa dissertação tem como objetivo discutir a representação do silêncio pelo cinema, tendo como
objeto de estudo os filmes Cleópatra e A erva do rato de Julio Bressane, uma vez que o fenômeno
desponta como um recurso recorrente dentro do estilo deste diretor. As análises encontradas neste
trabalho concentram-se na discussão acerca dos conceitos atrelados ao fenômeno do silêncio
discursivo, físico e de suas manifestações nos campos artísticos como a música, a poesia e o
cinema, sendo este último o ponto nodal de nossa discussão. Para tanto, tivemos como principais
referências os estudos de Paul Thebérge, Fernando Morais da Costa, Virgínia Flores acerca do
som no cinema, John Cage, Susan Sontag, José Miguel Wisnik e Jorge Antunes sobre a
representatividade do silêncio pelas artes em geral.
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Oliveira, Thaís Rodrigues. "Escuta vibrátil." Universidade Federal de Goiás, 2014. http://repositorio.bc.ufg.br/tede/handle/tede/8272.
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Previous issue date: 2014-02-28<br>An increasing recurrence of the image study has arose from researches
attentive to the problematical that involves themes like culture and society. We
are “imgetic” beings and the contemporary society of consumption has powered
the sense of vision in our daily life. However, there are few researches that use
the sound and its relation to what is called “visual culture”. From the perspective
of the cultural studies and of the visual culture, the aim of this paper is to identify
a possible “audible” culture and how identitary souding meanings can be
stimulated in the spectator / listener of the audiovisual material. Based on the
souding vocabulary of an investigation concerning to the sound produced
internment by the human body, this research seeks the conception of a practical
work with the use of these images and sounds not common to our daily life.<br>Uma crescente recorrência ao estudo das imagem tem emergido de
pesquisas atentas às problemáticas que envolvem temas como cultura e
sociedade. Somos seres ‘imagéticos’ e a sociedade de consumo
contemporânea há muito tempo tem potencializado o sentido da visão em
nosso cotidiano. Contudo, ainda são poucos os trabalhos que utilizam o som e
sua relação com a chamada “cultura visual”. A partir de uma perspectiva dos
estudos culturais e da cultura visual, pretendo identificar uma possível cultura
“audível” e como significações sonoras identitárias podem ser estimuladas no
espectador/ouvinte do material audiovisual. Baseada no vocabulário sonoro de
uma investigação acerca dos ruídos produzidos internamente pelo corpo
humano, essa pesquisa visa a concepção de um trabalho prático com usos
dessas imagens e sons incomuns ao nosso cotidiano.
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Castanheira, José Cláudio Siqueira. "A paisagem sonora eletrônica: a construção de novas audibilidades no cinema." Universidade do Estado do Rio de Janeiro, 2010. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=4940.
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Novas tecnologias, entendidas como parte integrante dos ambientes midiáticos contemporâneos, ajudam a conformar novos modelos perceptivos. O surgimento e a proliferação de tecnologias de síntese e de modelagem de sons por meios eletrônicos recria a relação entre o espaço presente no filme e as referências significantes que possuímos desse espaço. Os sons destacam-se dos objetos empíricos, alargando o campo de significações e de afetações sensoriais. Ao criar novas relações entre o corpo do espectador e uma inédita paisagem sonora eletrônica, novas tecnologias de som, como parte de um processo mais amplo das mídias, demandam um maior envolvimento da plateia. Dispositivos de imersão, efeitos especiais, uma nova distribuição espacial do ambiente sonoro, maior fidelidade e potência, reproduzem o encantamento físico despertado pelos primeiros cinemas. Para analisar o surgimento de novas audibilidades, novas formas de investigar o mundo a partir dessas tecnologias e dessa atual paisagem sonora, este trabalho procura uma abordagem tríplice. Inicialmente, procuramos fazer uma descrição de cunho fenomenológico da experiência cinematográfica. Em seguida, utilizamos propostas da Teoria das Materialidades para falar das afetações físicas induzidas pelo espaço sonoro eletrônico. Por último, utilizamos a perspectiva das ciências cognitivas que nos diz que corpo, cérebro e ambiente neste caso um ambiente extremamente tecnológico fazem parte de um mesmo processo dinâmico<br>New technologies, understood as an integral part of contemporary media environment, help to shape new models of perception. The emergence and proliferation of technologies of synthesis and modeling of sounds by electronic means recreates the relationship between the space in the film and the significant references that we have of that space. The sounds are detached from empirical objects, extending the field of signification and sensorial affectations. When creating new relationships between the body of the spectator and an unprecedented electronic soundscape, new sound technologies, as part of a wider process of media, demand a greater involvement of the audience. Immersion devices, special effects, a new spatial distribution of the sound, greater fidelity and power, they reproduce the physical enchantment generated by the first cinemas. To analyze the emergence of new audibilities, new ways to investigate the world from these technologies and this actual soundscape, this work seeks a threefold approach. Initially, we try to make a phenomenological description of the cinematic experience. Then we use Materiality Theory proposals to deal with the physical affectations induced by electronic soundscape. Finally, we use the perspective of cognitive science which tells us that body, brain and environment in this case an extremely technological one are part of the same dynamic process
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Frisvold, Hanssen Eirik. "Early Discourses on Colour and Cinema : Origins, Functions, Meanings." Doctoral thesis, Stockholms universitet, Filmvetenskapliga institutionen, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-1261.
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This dissertation is a historical and theoretical study of a number of discourses examining colour and cinema during the period 1909 to 1935 (trade press, film reviews, publications on film technology, manuals, catalogues and theoretical texts from the era). In this study, colour in cinema is considered as producing a number of aesthetic and representational questions which are contextualised historically; problems and qualities specifically associated with colour film are examined in terms of an interrelationship between historical, technical, industrial, and stylistic factors, as well as specific contemporary conceptions of cinema. The first chapter examines notions concerning the technical, material, as well as perceptual, origins of colour in cinema, and questions concerning indexicality, iconicity, and colour reproduction, through focusing on the relationship between the photographic colour process Kinemacolor, as well as other similar processes, and the established non-photographic colour methods during the early 1910s, with an in-depth analysis of the Catalogue of Kinemacolor Film Subjects, published in 1912. The second chapter examines notions concerning the stylistic, formal and narrative functions of colour in cinema, featuring a survey of the recurring comparisons between colour and sound, found in the writing of film history, in discourses concerning early Technicolor sound films, film technology, experimental films and experiments on synaesthesia during the 1920s, as well as Eisenstein’s notions of the functions of colour in sound film montage. The third chapter examines the question of colour and meaning in cinema through considering the relationship between colours and objects in colour film images (polychrome and monochrome, photographic and non-photographic) during the time frame of this study.
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Leão, Carolina Morgado 1986. "A trilha musical do cartoon no período clássico do cinema." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284495.
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Previous issue date: 2013<br>Resumo: Desde os primórdios do que entendemos hoje como cinema, já se fazia uso de intervenções sonoras. O acompanhamento musical era normalmente executado ao vivo, através de um pianista, um improvisador ou, as vezes, por uma pequena orquestra. Com o passar das décadas, o som para animação foi se transformando e assim, cada vez mais atrelou-se às imagens, se fundindo e unificando. Já na década de 1930, os desenhos animados formam um poderoso elo com a música, produzindo com isso, uma gama de cartoons musicados. Deste momento em diante, a trilha musical recebe a função de narrativa, sua articulação com a imagem cria um significado e possibilita a compreensão do espectador na história. A compreensão do som está associada ao acordo que existe entre o emissor e o espectador, quando este, em uma exibição, entra na sala para "ver-ouvir" uma história contada. O alicerce preeminente na projeção é a narrativa. Portanto, a trilha sonora, através do sincronismo, do seu uso de forma poética e também, através do uso de sons que de certa forma, já estão na memória de toda a sociedade ocidental, integra a articulação e a organização da narrativa na animação, compondo assim, um elemento de sua montagem. E desta maneira, a percepção fílmica é de fato audio-visual e permite numerosas combinações entre sons e imagens animadas<br>Abstract: Interventions with sounds are used since the beginning of what is known today as film. The music was performed live by a pianist, improviser or sometimes by a small orchestra. Over the decades, animation sound changed and became increasingly harnessed viii to the images, merging and unifying. Already in the 1930s, the cartoons are a powerful link with music, thus producing a range of cartoons set to music. From this moment on, the soundtrack gets the role of narrative, its articulation with the image creates meaning and allows the viewer to understand the story. Understanding of sound is associated with agreement that exists between the issuing and the spectator, when, in a view into the room to "see-hear" a story telling. The foundation is preeminent in projecting the narrative. Therefore, the soundtrack through the synchronization, the use of poetic form and also, through the use of sounds that somehow are already in the memory of all Western society integrates the speech and organization of narrative in animation, thus composing an element of its assembly. Sooner, the filmic perception is indeed audio-visual and allows numerous combinations of sounds and visual images<br>Mestrado<br>Fundamentos Teoricos<br>Mestra em Música
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Guimarães, Clotilde Borges. "A introdução do som direto no cinema documentário brasileiro na década de 1960." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27153/tde-24042009-154141/.
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Esta dissertação tem como objetivo pesquisar como se deu a introdução no Brasil da técnica de gravação de som sincrônico para o cinema (som direto) com equipamento leve, no começo dos anos 1960, além de estudar como esta nova técnica influenciou a linguagem dos documentários brasileiros. Para isso foram realizadas pesquisas bibliográficas, entrevistas e análises de filmes do período. A pesquisa enfatiza o contexto histórico no qual se insere o uso do som direto. Na análise dos filmes são empregados os conceitos de monologia e dialogia, concebidos por Mikhail Bakhtin, para designar a forma como é usado o registro de outras vozes obtidas através do som direto. É também apresentada a evolução da formação dos profissionais da área de som cinematográfico ao longo da história do cinema brasileiro.<br>The aim of this dissertation is to do research on how it has occured the introduction of the technique of the synchronic sound recording into the cinema (direct sound), using light equipment, in the beginning of the 1960s. Furthermore, this research has also studied how this new technique has influenced the Brazilian documentary language. In order to identify so, some bibliographic research, interviews and films analysis have been done about the period. The research emphasises the historical context in wich the use of the the direct sound is inserted. The concepts of monology and dialogy, conceived by Mikhail Bakhtin, are applied in the analysis of the films, to point out the way how the registration of other voices, gotten through the direct sound, is used. Finally, the evolution of the education of the professionals in the sound of cinematography area is also presented, throughout the history of the Brazilian cinema.
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Nicolino, Marcelo Sarra. "A espectromorfologia na análise da composição do desenho de som cinematográfico: um estudo de caso." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-08092016-153324/.
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Este trabalho estuda a utilização da ferramenta gráfica de análise espectromorfológica desenvolvida por Lasse Thoresen como auxiliar na análise da composição do sound design cinematográfico, com o desenvolvimento de partituras de escuta. Avaliamos uma forma de notação dos eventos sonoros presentes na trilha sonora cinematográfica com a adaptação desta ferramenta de notação, partindo da identificação dos critérios apontados por técnicas de análise audiovisual, aliadas posteriormente às metodologias de análise do objeto sonoro comumente utilizadas na música eletroacústica. Como estudo de caso, realizamos as transcrições espectromorfológicas de cinco sequências do filme A Conversação (1974), dirigido por Francis Ford Coppola, e desenho de som de Walter Murch, destacando pontos formadores do contrato audiovisual.<br>This paper studies the use of the spectromorphological analysis graphical tool developed by Lasse Thoresen as an aid in analyzing the composition of the cinematic sound design with the development of listening scores. We evaluate a notation form of sound events present in the film soundtrack by adapting the notation tool, starting from the identification of the criteria set out by techniques of audiovisual analysis combined with the analysis methodology of the sound object commonly used in electroacoustic music. As a case study, we made the spectromorphological transcription for five sequences of the film The Conversation (1974), directed by Francis Ford Coppola, and sound designed by Walter Murch, highlighting the audiovisual contract building points
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Schweitzer, Dennis Christopher. "Ton & Traum : A Critical Analysis Of The Use Of Sound Effects And Music In Contemporary Narrative Film." Ohio University / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1108483481.
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Motts, J. "Listening Beyond the Image: Toward a Trans-Sensory Cinema." Miami University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=miami1501099367573869.
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Goulart, Isabella Regina Oliveira. "Perdidos na tradução: as representações da latinidade e as versões em espanhol de Hollywood no Brasil (1929-1935)." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-10072018-153045/.
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Esta tese aborda a circulação no Brasil de versões em espanhol produzidas por estúdios de Hollywood nos primeiros anos do cinema sonoro. Procuramos identificar nestes filmes algumas representações que os produtores norte-americanos vincularam à identidade latina. Temos o Rio de Janeiro e São Paulo como recorte geográfico, a partir da pesquisa histórica de recepção nas revistas Cinearte e A Scena Muda e nos jornais Correio da Manhã e O Estado de São Paulo. Entre 1930 e 1935, esses periódicos mencionaram uma série de produções hollywoodianas em língua espanhola, que nossas revistas consideraram inferiores aos filmes originais em inglês devido à barreira da língua e aos padrões de qualidade cinematográficos estabelecidos. Visamos demonstrar como a recepção das versões pela imprensa carioca e paulistana marcou o distanciamento que alguns grupos de nossa elite cultural projetavam em relação à América Latina, bem como um espelhamento nos Estados Unidos, afirmando uma relação imperialista pela via da cultura.<br>This dissertation approaches the circulation in Brazil of the Spanish-language versions produced by Hollywood Studios in the early years of sound cinema and aim to identify in these films some representations of Latinidad made by American producers. The cities of Rio de Janeiro and Sao Paulo constitute the geographic approach. The magazines Cinearte and A Scena Muda, and the newspapers Correio da Manhã and O Estado de São Paulo were the main reference for the historical research. Between 1930 and 1935 these journals mentioned some Hollywood Spanish-language productions, which Brazillian magazines considered worse than the original English-language films because of the language barrier and the established film quality standards. This work aims to demonstrate how the reception of the Spanish-language versions by the Brazilian press marked the distancing that some groups of Brazil´s cultural elite projected towards Latin America, as well as a mirroring in the United States. It marks an imperialist relation through culture.
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Linscott, Charles P. "Sonic Overlook: Blackness between Sound and Image." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1438950059.
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Erik, Rosshagen. "Sync Event : The Ethnographic Allegory of Unsere Afrikareise." Thesis, Stockholms universitet, Institutionen för mediestudier, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-131291.
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The thesis aims at a critical reflexion on experimental ethnography with a special focus on the role of sound. A reassessment of its predominant discourse, as conceptualized by Cathrine Russell, is paired with a conceptual approach to film sound and audio-vision. By reactivating experimental filmmaker Peter Kubelka’s concept sync event and its aesthetic realisation in Unsere Afrikareise (Our Trip to Africa, Peter Kubelka, 1966) the thesis provide a themed reflection on the materiality of film as audiovisual relation. Sync event is a concept focused on the separation and meeting of image and sound to create new meanings, or metaphors. By reintroducing the concept and discussing its implication in relation to Michel Chion’s audio-vision, the thesis theorizes the audiovisual relation in ethnographic/documentary film more broadly. Through examples from the Russian avant-garde and Surrealism the sync event is connected to a historical genealogy of audiovisual experiments. With James Clifford’s notion ethnographic allegory Unsere Afrikareise becomes a case in point of experimental ethnography at work. The sync event is comprehended as an ethnographic allegory with the audience at its focal point; a colonial critique performed in the active process of audio-viewing film.
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Santos, Ana Cecília dos. "Cartografia musical no cinema: um estudo sobre a crítica cultural dos processos criativos em sociedades mestiças." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20200.
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Previous issue date: 2017-06-28<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>Governmental laws to foment culture helped the growth of audiovisual production
throughout the country. But outside the Rio-São Paulo axis, alike the state of Mato
Grosso, little is known about its production, even if there is a concern with the local
culture related to the cinematographic scene. We start from notes made by journalistic
critics about a given context, which, possibly subjugated by molds primarily, is
understood in a marginalized way compared to national production; and we also include
the music of this scope, which, even as part of the audiovisual context, is not always
considered by critics. Therefore, our object of study is the sonorous-musical relation in
the cinematographic composition. We have as corpus the sonorities used in the fiction
cinema outside the Rio-São Paulo axis, present in the national film catalog of ANCINE
(2006), in which the works of Mato Grosso are contemplated, the only ones supported
until now by the, nationwide, Rouanet law. This way, we question ourselves, if a
cartography of the sound-musical contexts for this environment would provide a critical
analysis, moving beyond "cultural imprinting" (MORIN, 1992), and hypothetically,
making the languages present in the cinema critical elements. Our objective is to locate
indicators, among the sound elements articulated to the audiovisual languages, able to
define the study on the relations between sonorous objects, cultural critics and mixed
societies. We justify this study by the novelty of the corpus and approach, in the face of
the fragmentation of scientific studies, in theoretical scarcity with a cognitivist clipping
about the referred context. The research has a theoretical backing on cultural processes,
miscegenation and cultural criticism, with authors such as Iuri Lotman, François
Laplantine and Amálio Pinheiro; about musical object, with Silvio Ferraz and Flô
Menezes; the relations of music in the audiovisual, with Michel Chion and Lívio
Tragtenberg; and other authors, considered for specific and interrelated issues between
the fields of study. Methodologically, we make a qualitative approach, facing the
processes - bibliography, field research, data collect, description and analysis of the
corpus - and in their articulations. The thesis, defended, is that the study of sound
elements, within their relations, becomes a critical object, providing the study of
cinematographic languages and cultural intertextualities in complex societies, in short,
musical cartography as a way of knowing about the cultural criticism in mixed societies.
Thus, the corpus, of a musical beginning, offers us a complex approach on the proposed
discussions; and to be considered, also, by other researches and fields of study<br>As leis governamentais de fomento à cultura auxiliaram o crescimento da produção
audiovisual em todo o País. Mas, fora do eixo Rio-São Paulo, a exemplo do Estado de
Mato Grosso, sabe-se pouco sobre sua produção, mesmo que haja uma preocupação
com a cultura local frente ao cenário cinematográfico. Partimos de apontamentos feitos
pela crítica jornalística sobre um contexto determinado, o qual, subjugado,
possivelmente, por moldes à priori, é compreendido de forma marginalizada frente à
produção nacional; e incluímos, ainda, a música deste ambiente, a qual, mesmo como
parte do contexto audiovisual, nem sempre é considerada pela crítica. Assim, nosso
objeto de estudo é a relação sonoro-musical na composição cinematográfica. Temos
como corpus as sonoridades empregadas no cinema de ficção fora do eixo Rio-São
Paulo, presentes no catálogo de filmes nacionais da ANCINE (2006), no qual estão
presentes as obras mato-grossensses, únicas amparadas até o presente momento pela lei
Rouanet, de abrangência nacional. Questionamo-nos, dessa forma, se uma cartografia
dos contextos sonoro-musicais para esse ambiente proporcionaria uma análise crítica,
caminhando além dos “imprintings culturais” (MORIN, 1992), e, hipoteticamente,
tornando as linguagens presentes no cinema elementos críticos. Nosso objetivo é
localizar indicadores, entre os elementos sonoros articulados às linguagens audiovisuais,
capazes de demarcar o estudo sobre as relações entre objeto sonoro, crítica cultural e
sociedades mestiças. Justificamos este estudo pelo ineditismo do corpus e abordagem,
frente à fragmentação dos estudos científicos, em escassez teórica com recorte
cognitivista sobre o contexto referido. A pesquisa tem aporte teórico sobre processos
culturais, mestiçagem e crítica cultural, com autores como Iuri Lotman, François
Laplantine, Edgar Morin e Amálio Pinheiro; sobre objeto musical, com Silvio Ferraz e
Flô Menezes; as relações da música no audiovisual, com Michel Chion e Lívio
Tragtenberg; e demais autores, considerados por questões pontuais e inter-relacionais
entre os campos de estudo. Metodologicamente, fazemos uma abordagem qualitativa,
frente aos processos – bibliografia, pesquisa de campo, coleta de dados, descrição e
análise do corpus – e em suas articulações. A tese, defendida, é a de que o estudo dos
elementos sonoros, dentro de suas relações, torna-se objeto crítico, proporcionando o
estudo das linguagens cinematográficas e intertextualidades culturais em sociedades
complexas, em suma, a cartografia musical como modo de conhecimento sobre a crítica
cultural em sociedades mestiças. Assim, o corpus, de partida musical, oferece-nos uma
complexa abordagem sobre as discussões propostas; e a de vir considerado, também,
por outras pesquisas e campos de estudo
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Manolas, Christos. "Sound design for stereoscopic 3D cinema : exploring current practice and the enhancement of depth perception through the use of auditory depth cues." Thesis, University of York, 2014. http://etheses.whiterose.ac.uk/13571/.
Full textAbstract:
Stereoscopic 3D (S3D) cinema has been the subject of experimentation for more than a century. Many attempts have been made towards its establishment both at a commercial and an artistic level. However, due to a number of technical and financial constraints most of these attempts have been, by and large, unsuccessful. With the rapid technological advance of digital technologies over the past few decades, most of these constraints have been addressed. It is, thus, unsurprising that the biggest effort in establishing S3D cinema commercially is taking place at the present time. The introduction of S3D depth aims at changing the cinematic environment from a 2D monoscopic screen to a viewing zone with a more pronounced representation of depth. In this context it can be argued that in addition to the increased sense of depth in terms of visual cues one could also investigate the possibility of using auditory cues. This could be either in order to enhance the overall sense of depth or to support more efficiently the additional depth of the visuals. The first part of this thesis involves the introduction of basic concepts related to the topic of the study. Firstly, the general background context is established covering relevant historical topics related to S3D cinema and multichannel cinematic sound. The next part is an introduction to basic audiovisual human perception concepts followed by the presentation of basic cinematic sound mixing topics and their relevance in S3D cinema. The second part of the thesis involves a series of experiments that attempt to study the effectiveness of two auditory cues (high frequency attenuation and volume alteration) as a means to influence the sense of depth of S3D animation clips. The overall findings are complex and reflect the multi-faceted nature of the topic investigated. Overall they indicate that sound design techniques can enhance the S3D experience and, in particular, that the auditory depth cues studied can, in some cases, have an effect on how we perceive depth in S3D movies.
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BUZZI, MAURO. "La canzone pop e il cinema italiano (1958-1963. Forme, gene ri, processi di trasformazione." Doctoral thesis, Università Cattolica del Sacro Cuore, 2012. http://hdl.handle.net/10280/1531.
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La tesi si occupa di indagare il campo della popular music italiana durante il periodo del boom, così come della situazione cinematografica nazionale del periodo. In seguito si analizzano le forme di utilizzo della prima all'interno del secondo, soprattutto nei confronti di due oggetti che nel rapporto prendono corpo:
1 - Il musicarello, che si configura come vero e proprio genere e di cui si vedranno caratteri principali e genesi
2 - L'insieme di film che fanno della canzone un uso significativo, ma non per questo si costituiscono come genere, o come corpo coeso. In comune hanno però una particolare configurazione di stile, che si costituisce appunto attorno al loro uso della canzone, e che si confronta con la questione della presenza di un "film medio" nazionale.<br>In Italy, between the end of the Fifties and the first half of the Sixties, a phenomenon of deep economic growth changes the nation in many ways. In the same period the first generation of young people starts to be known as such. With it followed the consideration of consumption as an opportunity for an aggregate and generational claim, pushing film, record, magazine and clothing producers to think of objects conforming to this desire, or even making it stronger. Medial consumption is one of the key practices that permitted to express a social and individual identity. The Thesis try to find out how an important medium like popular music, match himself with cinema, and what kind of new linguistic solution, and social practice they build together.
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Bihl, Erik. "The captivating use of silence in film : How silence affects the emotional aspect of cinema." Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-14697.
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In this thesis I use both Dense Clarity - Clear Density as well as qualitative interviewing as methods to guide me through this examination of sound design. Through studying other works and executing personal tests I try to find out if there is a need to use sound and silence in a creative way to evoke emotion. I examine films as well as literature from the 1960s all the way to the 2000s, to see how the use of silence has unfolded over the years. I also create a visual production that strengthens my theory that silence affects narrative more than its credited for. But the essay isn’t just about silence, it’s revolved around sound too, expanding into how sound correlates with emotion and how one can apply it to their production.<br>I detta kandidatarbete använder jag både Dense Clarity - Clear Density samt Kvalitativ Intervju som metoder för att vägleda mig igenom denna forskning om ljuddesign. Jag kommer att studera andra verk och utföra egna experiment, med detta vill jag se om det finns ett behov av att använda ljud och tystnad på ett kreativt sätt för att väcka känslor. Jag granskar, samt undersöker både film och litteratur från 1960-talet, ända fram till 2000-talet för att se hur användningen av tystnad i film har utfällt sig genom åren. Med att jag skapar en visuell produktion, så stärks min teori, som är att tystnad kan påverka filmens narrativ, oerhört. Men denna uppsats kretsar inte bara runt tystnad, utan även runt ljud som korrelerar med känslor och hur man kan använda sig av deras relation för att skapa en starkare produktion.
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Dallaire, Frédéric. "Création sonore et cinéma contemporain : la pensée et la pratique du mixage." Thèse, Paris 10, 2014. http://hdl.handle.net/1866/11587.
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Notre thèse décrit et analyse les conditions esthétiques, matérielles et idéelles qui rendent possibles les agencements sonores du cinéma contemporain. Au cours des 30 dernières années, le raffinement des outils de manipulation du son, l’importance grandissante du concepteur sonore et le nouvel espace de cohabitation des sons (favorisé par le Dolby et la diffusion multicanal) sont des facteurs qui ont transformé la création et l’écoute du son au cinéma. Ces transformations révèlent un nouveau paradigme : le mixage s’est graduellement imposé comme le geste perceptif et créateur qui rend compte de la sensibilité contemporaine. Notre thèse explore les effets de la pensée du mixage (qui procède par résonance, simultanéité, dosage et modulation) sur notre écoute et notre compréhension de l'expérience cinématographique. À l'aide de paroles de concepteurs sonores (Murch, Beaugrand, Thom, Allard…), de textes théoriques sur le son filmique (Cardinal, Chion, Campan), de documentaires sur des musiciens improvisateurs (Lussier, Glennie, Frith), de films de fiction à la dimension sonore affirmée (Denis, Van Sant), de textes philosophiques sur la perception (Leibniz, James, Straus, Szendy…), d'analyses du dispositif sonore cinématographique, notre thèse rend audibles des tensions, des récurrences, de nouveaux agencements, des problèmes actuels et inactuels qui forgent et orientent l'écoute du théoricien, du créateur et de l'auditeur. En interrogeant la dimension sonore de la perception, de l’action, de l’espace et de la pensée, cette thèse a pour objectif de modifier la façon dont on écoute, crée et pense le son au cinéma.<br>This thesis describes and analyzes the esthetic, material and conceptual conditions that make the acoustic structures of contemporary cinema possible. The refinement of tools used for manipulating sound, the growing importance the sound designer and the emergence of a new space for sounds to coexist in (brought on by Dolby and multichannel sound systems) are factors that, over the past 30 years, have transformed the way we work with and listen to sound in film. These transformations reveal a new paradigm: mixing gradually imposed itself as the creative and perceptual act capable of accounting for our contemporary sensibility. This thesis explores the effects of the “thought process of mixing” (which functions by resonance, simultaneity, dosage and modulation) on the way we hear and understand the cinematographic experience. Working from the accounts of sound designers (Murch, Beaugrand, Thom Allard…), theoretical texts on film sound (Cardinal, Chion, Campam), documentaries on improvisational musicians (Lussier, Glennie, Frith), fiction films with a acute acoustic sensibility (Denis, Van Sant), philosophical texts on perception (Leibniz, James, Straus, Szendy…) and analyses of the cinematographic sound apparatus, this thesis renders audible the tensions, the recurrences, the structural connections and the problems, old and new, that forge and direct the theoretician, the artist and the auditor’s way of listening. By questioning the auditory dimension of perception, action, space and thought, this thesis aims to change the way we hear, create and think cinema.
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Guglielmetti, Yohann. "De la relation entre musique et images, en prenant comme témoin le cinéma du réalisateur-compositeur Tom Tykwer." Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H317/document.
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La sempiternelle recherche de compréhension par le visuel, des émotions générées par la musique, ouvre un horizon de paradoxes au cinéma qui mérite que l'on s'y attarde. L'esthétique du réalisateur-compositeur Tom Tykwer qui réalise ses films comme Wagner compose ses opéras en écrivant partition et livret, et dont l'inflexibilité sur sa double fonction est probablement unique au cinéma, nous sert de modèle pour consolider notre révision de quelques pensées communément admises sur la relation entre musique et images. Nous y revisitons la définition de la musique en tant que matière sonore du film, la question de sa concordance avec l'image, de son indépendance alors qu'elle intègre un tout unifié, ainsi que de son rapport aux sens et à leur transcendance. Les images comme substrat matériel et la musique comme élément de conscience chez ce réalisateur-compositeur, conservent leur autonomie de sens alors même que la partition est intimement liée à la structure du film. Elles s'inscrivent dans un rapport de complémentarité qui remet en cause tout un paradigme basé sur l'idée d'analogie ou de convergence, en somme, de dualité entre images et musique au cinéma<br>The perennial search of comprehension by the visual, of emotions generated by music, opens an horizon of paradoxes in cinema that merits further consideration. Filmmaker-composer Tom Tykwer's aesthetics that allows him to direct movies as Wagner composes his operas by writing scores and libretto, and whose inflexibility of his double function is probably unique in cinema, serve us as model to strengthen our revision of some commonly admitted thoughts about the relationship between music and images. We reassess the definition of music as sound material of films, the question of its concordance with the image, of its indépendence even though it integrates an unified whole, as well as its connection with the senses and their transcendence. Images as material substrate and music as element of consciousness in this director-composer's work retain their autonomy of sense while the score is closely connected to the film'structure. They are consistent with a complementary relation that questions an entire paradigm based on the idea of analogy or convergence, in short, of a duality between images and music in cinema
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Silva, Edison Delmiro. "O papel narrativo da canção nos filmes brasileiros a partir da Retomada." Pontifícia Universidade Católica de São Paulo, 2008. https://tede2.pucsp.br/handle/handle/5055.
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Previous issue date: 2008-05-12<br>From the analysis of sixty-two Brazilian movies released since 1995, the thesis presents
a categorization of the narrative role of popular songs in these productions. The films of
this period called "Retomada (National Cinema Resume) show the use of this specific
musical form for the construction of meanings in scenes and, ultimately, for the making
of allegories that form a contemporary cultural identity and renew the concept of
nationality represented in cinema. The study applies the analytical paradigms of the
audiovisual soundtrack to the context of the song, categorizes its functions narratives
with examples taken from Brazilian movies and observes the historical periods where
the song was highlighted in Brazilian films, from the silent movies to the latest musical
films<br>A partir da análise de sessenta e dois filmes brasileiros lançados a partir de 1995, a tese
apresenta uma categorização do papel narrativo das canções populares nestas
produções. A filmografia deste período denominado Retomada do Cinema Nacional
apresenta o uso desta forma musical específica para a construção dos significados nas
cenas e, em última instância, para a constituição de alegorias que formam uma
identidade cultural contemporânea e renovam a noção de nacionalidade representada no
cinema. O estudo aplica os paradigmas analíticos da trilha sonora audiovisual no
contexto da canção, categoriza as suas funções narrativas com exemplos extraídos de
filmes nacionais e observa os períodos históricos onde a canção teve maior destaque
nos filmes brasileiros, do cinema mudo até as produções musicais mais recentes
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Reis, Hugo Leonardo Castilhos dos. "Sobre a luz e o silêncio : o plano de longa duração e a dinâmica do som no cinema de Carlos Reygadas." Universidade Federal de São Carlos, 2014. https://repositorio.ufscar.br/handle/ufscar/5622.
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Previous issue date: 2014-04-29<br>Universidade Federal de Minas Gerais<br>This work aims to discuss the cinema of Carlos Reygadas, with the focuses on the importance of sound and its dynamics within the long duration take, a procedure that strongly characterizes the style of this director. Initially, excerpts from films Japón (2002), Battle in Heaven (2005) and Silent Light (2007) were analyzed to highlight the formation of a stylistic corpus and a predominantly contemplative and sensory conception of cinema. Then we elected Silent Light as a conductive thread of a broader analysis in relation to the main crop. Therefore, we had as main references studies by David Bordwell (2008) on traditional directors of the plan-sequence, as well as the categories and theoretical assumptions of Michel Chion (1994, 2009) on the uses of sound in cinema.<br>Esta dissertação tem por objetivo discutir o cinema de Carlos Reygadas, sob um recorte que se concentra especificamente na importância do som e de sua dinâmica no interior dos planos de longa duração, procedimento que caracteriza fortemente o estilo deste diretor. Inicialmente, trecho dos filmes Japón (2002), Batalha no Céu (2005) e Luz Silenciosa (2007) foram analisados para salientar a conformação de um corpus estilístico e de uma concepção de cinema de caráter predominantemente contemplativo e sensorial. Em seguida, elegemos Luz Silenciosa como o fio condutor de uma análise mais abrangente em relação ao principal recorte. Para tanto, tivemos como principais referências os estudos de David Bordwell (2008) sobre tradicionais diretores do plano-sequência, bem como as categorias e pressupostos teóricos de Michel Chion (1994; 2009) sobre usos do som no cinema.
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Marignan, Marylin. "Évolution de la fréquentation des cinémas et des théâtres à Lyon (1929-1939)." Thesis, Lyon 2, 2014. http://www.theses.fr/2014LYO20055.
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C’est le 8 mars 1929 qu’on voit pour la première fois à Lyon, dans une salle de cinéma, une production américaine sonore, Les Ailes (Wings, William A. Wellman, 1927). Ce film marque les débuts du cinéma sonore et parlant dans la capitale des Gaules. Dès lors, les grands établissements de la ville s’équipent d’une installation. C’est un succès phénoménal. L’arrivée et le triomphe du cinéma parlant inquiètent le monde théâtral qui voit en lui un sérieux et redoutable concurrent. À cette époque, de nombreux articles rapprochant le septième art et l’art dramatique vont paraître, nombre d’entre eux s’interrogent alors sur l’avenir du théâtre. Mais qu’en est-il réellement des répercussions de la généralisation du parlant sur l’évolution de la fréquentation des théâtres de la ville de Lyon ? Comment réagissent-ils face à l’arrivée des films parlants ? Cette nouvelle technologie a-t-elle eu des conséquences sur leur fréquentation et sur leur fonctionnement ? Dans une approche socio-culturelle, économique et historique, cette thèse se propose donc d’étudier et d’analyser l’évolution de la fréquentation des cinémas et des théâtres lyonnais au cours des années trente. L’étude de l’impact de la généralisation du parlant, puis de la crise économique et enfin de la mise en place des nouvelles lois sociales par le Front populaire en juin 1936 est alors déterminante pour comprendre les changements de rapports qui s’établissent entre ces deux arts<br>The first time that an American sound film was shown in a cinema in Lyon, was on March 8, 1929. The movie was entitled Wings (Les Ailes, William A. Wellman, 1927). This film was a starting point for sound films also known as talking pictures, in the capital of the Gauls. From that point, cinemas started to equip. It was a phenomenal success. The beginnings and the triumph of sound films worried the theatre world, which saw them as a serious and fierce rival. This is the time when a lot of articles comparing cinematographic art and drama were published, many of them wondering about the future of drama. What were the repercussions of the transition to sound films on the evolution of theatres attendance in Lyon? How did theatres react to the rise of talking pictures? Did this new technology have an impact on theatres attendance and functioning? This thesis will pay attention to the evolution of attendance in Lyon’s cinemas and theatres in the 1930s focusing on a sociocultural, economic and historic approach. The study of the impact of the transition to sound films as well as the economic crisis and the implementation of laws by the Front populaire in June 1936 are then determining to understand the evolution of the connection between drama and cinema
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Denizart, Jean-Michel. "L'émergence des significations chez le monteur son, au cours de la recherche et de la sélection des sons : une approche communicationnelle et cognitive." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0303.
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Il y a plusieurs années, le département SATIS de l'Université d'Aix-Marseille ainsi que le laboratoire ASTRAM ont entamé le développement d’une sonothèque en ligne intitulée « Sons du Sud ». Cette base de données sonores est destinée aux professionnels du son dans les secteurs du cinéma et de l'audiovisuel et, plus particulièrement encore, aux monteurs son. L’objectif à présent est de développer pour Sons du Sud une nouvelle méthode d’indexation en rupture avec les logiques d’indexation causales les plus largement répandues. En effet, dans la perspective d’une exploitation filmique, il apparaît qu’un son n’est que rarement choisi sur la base de critères exclusivement en lien avec son origine ou ses propriétés acoustiques, mais aussi en vertu des significations potentielles que celui-ci est à même de revêtir au contact des autres matières de l’expression filmique, des fonctions qu’il est susceptible de remplir, des liens qu’il entretient avec ce que le film exprime, etc. On peut alors se demander si ce n’est pas plutôt ce « potentiel d’informations » que les descripteurs sémantiques utilisés par les sonothèques actuelles devraient essayer d’expliciter. C’est pourquoi la présente thèse se positionne comme une étape de travail préliminaire à l’élaboration d’une nouvelle méthode d’indexation : afin de répondre aux exigences de la sonothèque Sons du Sud, il semble indispensable d’entièrement nous consacrer à une meilleure appréhension des facteurs contribuant à modifier le « système de pertinences » de son principal usager, en examinant plus avant ce qui guide sa démarche, polarise son écoute et influence ses actions au cours de la recherche et de la sélection des sons<br>Several years ago, the SATIS department of the University of Aix-Marseille and the ASTRAM laboratory initiated the development of an online sound library entitled "Sons du Sud". This sound database is intended for sound professionals and more specifically, sound editors, in the film and audiovisual sectors. The current objective is to develop a new indexing method of sound for Sons du Sud breaking with the logic of causal indexation most widely used. Indeed, it appears that, from the perspective of a filmic exploitation, a sound is rarely selected based on criteria exclusively related to its acoustic origin but also related to the potential meanings it is able to take on with the other materials of filmic expression, the functions it is likely to fulfill, the links it maintains with what the film expresses, and so on. We can then ask ourselves if it is not rather this "information potential" which the semantic descriptors used by the current sound libraries should try to make explicit. Therefore, this thesis is a preliminary step in the development of a new indexing method: in order to meet the requirements of Sons du Sud sound library, it seems essential to devote ourselves entirely to a better understanding of the contributing factors that change the "system of relevance" of its main users, to examine further what guides their approach, polarizes their listening and influences their searches and selections