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Advisor(s)
Abstract(s)
O som, como é sabido, não é alvo de investigação frequente nos estudos fílmicos,
em detrimento de outras áreas como a imagem ou a narrativa. Esta tese tenta aprofundar
diferentes facetas da realidade sonora de filmes portugueses, assim como o modo como elas
são criadas por diferentes intervenientes. Estas facetas produzem um certo efeito no
espectador e contribuem para um sentido estético alargado do filme. Com bastante relevo é
aprofundada na tese a importância do som acusmático e de como é importante em alguns
filmes.
O som engloba diferentes categorias e diversos modos de serem trabalhados e
articulados com a imagem em movimento e a narrativa. Desde os diálogos ao som ambiente,
passando pelos sons de ação e pela eventual existência de música, várias opções criativas
vão sendo tomadas. A existência ou não de sons fora-de-campo, o controlo dos volumes, a
inclusão de determinados efeitos ou texturas são alguns dos mecanismos a que os profissionais
do som podem recorrer. Vários destes profissionais articulam-se de variadas maneiras por
forma a levar o trabalho a bom porto.
O contexto nacional é relevante para o modo como os produtores solicitam o
trabalho dos profissionais do som. Embora enriquecido nas últimas décadas com o surgimento
de profissionais especializados, o nosso país apresenta carências nalgumas áreas criativas,
que o pequeno mercado não permite estimular. Uma certa tradição “artesanal” no trabalho
de som permanece ligada a algumas das personalidades ainda no ativo. Diferentes gerações
trabalham com o digital e com a espacialização sonora segundo variadas estratégias criativas.
Entre elas temos o uso de um alargado número de pistas, a atenção à imagem e à escuta e a
utilização do surround com vincados propósitos narrativos.
Sound, as is well known, is not the subject of frequent investigation in film studies, to the detriment of other areas such as image or narrative. In this thesis it is aimed to deepen the different facets of the sound reality of Portuguese films, as well as the way they are created by different actors. Such facets produce a certain effect on the viewer and contribute to a broad aesthetic sense of the film. The importance of acousmatic sound and its importance in some films are emphasized in this thesis. Sound encompasses different categories and ways of articulation with the moving image and the narrative. From dialogues to the ambient sound, through the sounds of action and the possible existence of music, several creative options are taken. Out-of-field sounds, volumes control, inclusion of certain effects or textures are some of the mechanisms that sound professionals can use. They work together in different ways to get the job done. The national context is relevant to the way in which producers request the work of sound professionals. Although enriched in recent decades with the emergence of specialized professionals, Portugal has deficiencies in some creative areas, and a small market that does not help. Linked to some personalities, it remains a certain "handmade" tradition in the work with sound. Different generations work with digital and sound spatialization according to various creative strategies. The use of a large number of tracks, the attention to image and listening and the use of surround sound with strong narrative purposes, among others.
Sound, as is well known, is not the subject of frequent investigation in film studies, to the detriment of other areas such as image or narrative. In this thesis it is aimed to deepen the different facets of the sound reality of Portuguese films, as well as the way they are created by different actors. Such facets produce a certain effect on the viewer and contribute to a broad aesthetic sense of the film. The importance of acousmatic sound and its importance in some films are emphasized in this thesis. Sound encompasses different categories and ways of articulation with the moving image and the narrative. From dialogues to the ambient sound, through the sounds of action and the possible existence of music, several creative options are taken. Out-of-field sounds, volumes control, inclusion of certain effects or textures are some of the mechanisms that sound professionals can use. They work together in different ways to get the job done. The national context is relevant to the way in which producers request the work of sound professionals. Although enriched in recent decades with the emergence of specialized professionals, Portugal has deficiencies in some creative areas, and a small market that does not help. Linked to some personalities, it remains a certain "handmade" tradition in the work with sound. Different generations work with digital and sound spatialization according to various creative strategies. The use of a large number of tracks, the attention to image and listening and the use of surround sound with strong narrative purposes, among others.
Description
Keywords
Cinema - Som - Portugal Cinema português - Som Som acusmático - Cinema português Cinema português - Acústica Som - Aspectos técnicos Som - Efeitos no telespectador