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Prince, Rob. "Say Hello to My Little Friend: De Palma's Scarface, Cinema Spectatorship, and the Hip Hop Gangsta as Urban Superhero." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1256860175.
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Schweitzer, Dennis C. "Ton & traum : a critical analysis of the use of sound effects and music in contemporary narrative film /." Ohio : Ohio University, 2004. http://www.ohiolink.edu/etd/view.cgi?ohiou1108483481.
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Trainer, Adam. "Rock'n'roll cinema." Thesis, Trainer, Adam (2005) Rock'n'roll cinema. PhD thesis, Murdoch University, 2005. https://researchrepository.murdoch.edu.au/id/eprint/364/.
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Popular music and film are separate media, framed by specific discourses, histories of distribution and reception, semiotic relationships and literacies. Through these divergent manifestations and ideologies nodes of convergence exist. At moments of connection, new and innovative textual and contextual possibilities emerge, transforming the ways in which audiences both engage and read these media. Whilst often driven by capitalist goals, both popular music and film capture and tether personal expression and collective memory. Through these processes of signification, popular cultural texts belonging to both media forms are able to resist their commodified origins to inform and construct both collective and individual identities.
This thesis charts the movement of popular music across cinema. Rock'n'Roll is utilized not only as an amalgam of texts made up of sounds and images, but also as a critical and interpretative apparatus through which specific cultural identities are configured. This work is concerned with various manifestations of political resistance in popular culture, and the ways in which this resistance is moderated through cultural commodification. Using an interdisciplinary approach - converging film analysis, popular music studies and music journalism - this thesis constructs an ideological framework through which film and popular music can be aligned, and through which this alignment can be researched.
Through an engagement with myriad cinematic and popular cultural texts, executed through interdisciplinary methods, this thesis establishes a theoretical framework for understanding and analyzing the convergence of popular music and cinema. Its original contribution to knowledge is an evaluation of the ways in which these media are changed through their alignment and how they inform each other both structurally, as tangible manifestations of specific media codes and structures, and politically, in the ideological embodiment of particular identities and representational realities. This goal is achieved through the selection of specific research materials, especially those which have not been subject to detailed investigation in other scholarly studies. Specific filmic and musical texts are discussed because they embody the aesthetic and political synergy of these two media forms as well as demonstrating the cultural processes through which this synergy is enacted.
This thesis offers interdisciplinary dialogue as a valid strategy to understand the processes involved in the creation and reception of texts which are cinematic in nature but utilize the language and discourse of popular music. The textual and contextual manifestations of this process are a primary concern. Emphasis is placed on the implications for film form in terms of the structure of texts and their existence within specific genres, the shifting position of the auteur and the renegotiation of the term and its meaning to film and popular music, and the conjunction and interaction between creativity and commerce. In addressing the political and aesthetic possibilities of the film and popular music hybrid, as well as the cultural implications of their convergence, this thesis provides new perspectives for the analysis of both forms.
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Trainer, Adam. "Rock'n'roll cinema." Trainer, Adam (2005) Rock'n'roll cinema. PhD thesis, Murdoch University, 2005. http://researchrepository.murdoch.edu.au/364/.
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Popular music and film are separate media, framed by specific discourses, histories of distribution and reception, semiotic relationships and literacies. Through these divergent manifestations and ideologies nodes of convergence exist. At moments of connection, new and innovative textual and contextual possibilities emerge, transforming the ways in which audiences both engage and read these media. Whilst often driven by capitalist goals, both popular music and film capture and tether personal expression and collective memory. Through these processes of signification, popular cultural texts belonging to both media forms are able to resist their commodified origins to inform and construct both collective and individual identities.
This thesis charts the movement of popular music across cinema. Rock'n'Roll is utilized not only as an amalgam of texts made up of sounds and images, but also as a critical and interpretative apparatus through which specific cultural identities are configured. This work is concerned with various manifestations of political resistance in popular culture, and the ways in which this resistance is moderated through cultural commodification. Using an interdisciplinary approach - converging film analysis, popular music studies and music journalism - this thesis constructs an ideological framework through which film and popular music can be aligned, and through which this alignment can be researched.
Through an engagement with myriad cinematic and popular cultural texts, executed through interdisciplinary methods, this thesis establishes a theoretical framework for understanding and analyzing the convergence of popular music and cinema. Its original contribution to knowledge is an evaluation of the ways in which these media are changed through their alignment and how they inform each other both structurally, as tangible manifestations of specific media codes and structures, and politically, in the ideological embodiment of particular identities and representational realities. This goal is achieved through the selection of specific research materials, especially those which have not been subject to detailed investigation in other scholarly studies. Specific filmic and musical texts are discussed because they embody the aesthetic and political synergy of these two media forms as well as demonstrating the cultural processes through which this synergy is enacted.
This thesis offers interdisciplinary dialogue as a valid strategy to understand the processes involved in the creation and reception of texts which are cinematic in nature but utilize the language and discourse of popular music. The textual and contextual manifestations of this process are a primary concern. Emphasis is placed on the implications for film form in terms of the structure of texts and their existence within specific genres, the shifting position of the auteur and the renegotiation of the term and its meaning to film and popular music, and the conjunction and interaction between creativity and commerce. In addressing the political and aesthetic possibilities of the film and popular music hybrid, as well as the cultural implications of their convergence, this thesis provides new perspectives for the analysis of both forms.
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Mollaghan, Aimée. "The musicality of the visual music film." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/3205/.
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This thesis explores the concept and expression of musicality in the absolute visual music film, in which visual presentations are given musical attributes such as rhythmical form, structure and harmony. The role of music has, in general, been neglected when analysing visual music textually and if discussed it has been examined predominantly from the academic vantage points of art and avant-garde film theory. To adequately scrutinise these texts I consider it essential to look at them not only in terms of their existence as moving pictures but also to give equal weight to their aural aspect and to consider them in terms of specifically musical parameters. This thesis therefore seeks to redress previous imbalances by undertaking a close analysis of the expressly musical qualities of these texts. Drawing on the seemingly disparate areas of film theory, art history, music theory and philosophy, it takes an interdisciplinary approach to investigating the measurable influence that wider contextual, philosophical and historical developments and debates in these areas bore on the aesthetics of specific visual music films. By drawing on the analogy of the absolute in music to demonstrate how musical concepts can function across the disciplinary boundaries of music and film, the first half of this thesis illustrates how musical ideas can be applied both formally and conceptually to the moving image in order to elucidate the musical characteristics of the text. Using the notion of the absolute as a conceptual framework allows for a thorough overview of changing trends and aesthetics in music, film and art and the visual music film. The centrality of notions of the absolute to visual music is demonstrated through close analysis of films by Viking Eggeling, Hans Richter, Walter Ruttmann, Norman McLaren, James Whitney and Jordan Belson. The second part of this thesis concentrates less on the philosophical vestiges carried over from musical thought to the visual music film, instead focusing on the variety of techniques and technological developments that evolved in tandem with the visual music film, each simultaneously exerting an influence on one another. It explores the effect that colour processing had on not only the visual but the overall audiovisual structure of the visual music film through a textual analysis of Kreise (1933) by Oskar Fischinger. It also investigates how particular styles of musical composition dictated the development of specific technical processes such as painting directly onto the celluloid strip, in order to capture the syncopated and frenetic musicality of jazz music. The case studies here are Begone Dull Care (1949) by Norman McLaren and A Colour Box (1935) by Len Lye. Further to this, it examines how the technical processes of animated sound emerged in the search for a greater correlation between the visual and sound tracks of the visual music film through close analysis of Synchromy (1971) by Norman McLaren and the optical sound films of Guy Sherwin. Finally, this thesis marries the inquiry into technological innovation of its second half with the historical, aesthetic and philosophical concerns of earlier chapters by considering the work of visual music pioneer John Whitney. Focusing on his digitally produced visual music films, the thesis explores Whitney’s enduring concern with the unification of sound and image through the shared foundation of mathematical harmony.
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Steele, Geoge. "Scoring silent film : music/nation/affect /." View online ; access limited to URI, 2009. http://0-digitalcommons.uri.edu.helin.uri.edu/dissertations/AAI3380539.
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Nozaic, Claire. "An introduction to audio post-production for film." Thesis, Stellenbosch : Stellenbosch University, 2006. http://hdl.handle.net/10019.1/17405.
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Thesis (M.Mus.)--University of Stellenbosch, 2006.ENGLISH ABSTRACT: In South Africa there has been an increase over the last few years in audio engineering courses which include modules of study in audio post-production or even offer audio post-production as a major focus of study. From an academic standpoint however, and despite the growth in the local film industry, very little study of this field has been undertaken in South Africa until recently. In 2005, a MMus thesis was submitted at the University of KwaZulu-Natal entitled Acoustic Ambience in Cinematography: An Exploration of the Descriptive and Emotional Impact of the Aural Environment (Turner, 2005: online). The thesis briefly outlines the basic components of the soundtrack and focuses on describing and analysing the properties of ambience, a sub-section of sound effects. At Stellenbosch University, research has recently begun in the fields of film music and Foley (sound effects associated with human movement onscreen). The purpose of this thesis is to provide an overview of audio post-production and the contribution of sound to the film medium. It provides an outline of the processes involved in creating a soundtrack for film and includes a description of the components of the soundtrack and recommendations for practical application.
AFRIKAANSE OPSOMMING: Gedurende die afgelope paar jaar was daar ‘n toename in oudio-ingenieurskursusse, insluitend studiemodules in oudio post-produksie, en selfs ‘n aanbod vir modules in post-produksie as hoofstudierigting. Desnieteenstaande, en ten spyte van die groei in die plaaslike filmindustrie is tot onlangs min akademiese studies op dié terrein in Suid-Afrika onderneem. In 2005 is ‘n MMus-tesis aan die Universiteit van KwaZulu-Natal voorgelê, met die titel Acoustic Ambience in Cinematography: An Exploration of the Descriptive and Emotional Impact of the Aural Environment (Turner, 2005: aanlyn). Hierdie tesis gee ‘n basiese oorsig oor die basiese komponente van die klankbaan, en fokus op die beskrywing en analise van die eienskappe van ambience – ‘n onderafdeling van klankeffekte. By die Universiteit van Stellenbosch is onlangs ‘n begin gemaak met navorsing oor die terreine van filmmusiek en Foley, d.w.s. klankeffekte geassosieer met menslike bewegings op die skerm.. Hierdie tesis beoog om ‘n oorsig te gee van oudio post-produksie en die bydrae van klank tot die filmmedium. Dit verskaf ‘n oorsig oor die prosesse betrokke by die daarstelling van ‘n filmklankbaan en sluit ook in ‘n beskrywing van die komponente van die klankbaan en aanbevelings vir die praktiese toepassing daarvan.
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Glover, Kristin Lynn. "Connections making sense of the world around us (the use of music in documentary films) /." Thesis, Montana State University, 2009. http://etd.lib.montana.edu/etd/2009/glover/GloverK0809.pdf.
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Thesis (MFA)--Montana State University--Bozeman, 2009.Typescript. Chairperson, Graduate Committee: Walter Metz. Troubador is a DVD accompanying the thesis. Includes bibliographical references (leaf 31).
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Alexander, Helen. "Happy harmonies and disturbing discords : Scott Bradley's music for MGM's cartoons." Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/6809/.
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The musical scores of composer Scott Bradley for the cartoons of the Metro- Goldwyn-Mayer studio form the basis of this dissertation, which uses close observation and analysis to address some of the pertinent technical and cultural issues that have been raised in the literature of musicology and of cartoon studies. Bradley’s collaborations with three sets of directors are discussed separately in order to highlight three academic concerns. An investigation into the various practical necessities and cultural influences on Bradley’s work with directors Hugh Harman and Rudolf Ising sets the historical scene at the beginning of the composer’s career. I examine the pervading style of these cartoons and their music in order to reveal some of the personal preoccupations that Bradley’s work would exhibit throughout his life. And I interrogate the general musicological approach to the audiovisual pairing and cartoon scoring practices in order to re-evaluate close synchronization as a variegated technique capable of diverse and nuanced effects. Director Tex Avery and Bradley have independently been considered by various scholars for their adoption of modernist techniques. Their collaboration produced works that challenge the distinction of popular entertainment and modernist art, in a way that is shown to be both multifaceted and difficult to quantify. The position of their cartoons in terms of more frequently recognized modern artforms and its own tradition of slapstick comedy complicate any simple distinction between the two fields. The directorial team of William Hanna and Joseph Barbera produced cartoons that amalgamated some of the techniques learned from the other animators in this study. As well as being the most famous of MGM’s cartoon series, their Tom and Jerry cartoons were the most consistent in terms of style. The comic formula of this series is examined from the relatively new academic area of ‘comic timing’. I explore the possible effect of a constant musical presence on the audience perception of pacing and thereby add a new perspective to an aspect of comedy that has not before been considered with reference to music.
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Garwood, Ian. "Pop music and characterisation in narrative film." Thesis, University of Warwick, 1999. http://wrap.warwick.ac.uk/4263/.
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This thesis discusses the use of pop songs in narrative films, with particular attention paid to their role in characterisation. My argument concerns the potential for pop to retain its specificity as a certain type of music whilst it carries out functions normally attributed to a composed score. Many commentators have assumed that, because a song may be known before it is used in a film, its narrative meanings are "pre-packaged". I combine an appreciation of pop music's propensity to come to a film already 'known' with an attempt to demonstrate how individual narratives ask songs to perform different affective roles. It is my contention that pop music's quality of 'knownness' is fundamental to its narrative affect in films, without, however, pre-determining that affect. I argue my case through close textual analysis, discussing the relationship between real-life pop stars' musical personas and the film characters they are asked to play, as well as offering numerous examples of songs without an on-screen performer becoming involved in processes of filmic narration.
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Mui, Yee-man, and 梅綺雯. "The Hong Kong soundscape: music and sound in Johnnie To's PTU." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B44517087.
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Schofield, Guy Peter. "Soundtrack-controlled cinematographic systems." Thesis, University of Newcastle upon Tyne, 2014. http://hdl.handle.net/10443/2422.
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Ahn, Soo H. "Metropolis : music score for the film directed by Fritz Lang ; Scoring Metropolis : the development of my compositional practice." Thesis, University of Huddersfield, 2017. http://eprints.hud.ac.uk/id/eprint/31449/.
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This commentary documents the compositional process of writing film music for the classic expressionist silent film Metropolis (Lang, 1927), using MIDI-based orchestral sound resources. Metropolis was chosen from within other possibilities, such as Battleship Potemkin or Nosferatu, not only due to the belief that the film’s surreal eerie mood and machine-like characters could be represented well by the Second Viennese School’s musical style that I intended to adopt, but also due to a judgment that leitmotivic transformation and use of themes as character links fit into a work so rich with characters’ showing subtle psychological states. I set out to compose an original orchestral score for Metropolis with the idea in mind, that film music should contribute to the audience’s integration with the drama and reinforcement of dramatic tensions by strategically supporting the film’s plot and narrative, and that an agreeable conceptual blending between film and music would be crucial to a successful composition. For this task, a thorough review of the leitmotif and related literature about music semiotics and meanings, together with a brief discussion of the MIDI sampler orchestra, proved to be necessary. Metropolis, a pioneering masterpiece of sci-fi, which contains a gloomy portrait of the futuristic world, encouraged me to experiment with the diverse possibilities not only of the leitmotif, but also of kaleidoscopic sound originating from various combinations of virtual instruments of the MIDI sampler orchestra and ultimately to show my musical process. The document traces the leitmotif as a primary compositional device for thematic manoeuvre in both film composers’ scores and major scholars’ discussions; it also incorporates current scholarly research about music semiotics and meanings, which has guided choices in each stage of my compositional process. I have revealed how I applied such lessons as Ennio Morricone’s microcell technique, Danny Elfman’s transformation approaches to thematic material, Howard Shore’s reflection of meaning onto music, and Ilan Eshkeri’s use of themes as character links to my Metropolis. I organized the main character’s associate themes using microcell and transformation techniques and contextualised them as character links. For instance, I produced tunes for cold-hearted characters, such as Rotwang, robot Maria, and high buildings, with the twelve-tone technique, poignant dissonances through interval-classes 1 and 6, recursive rhythmic patterns, or their combinations; I also adopted two distinct types of an octatonic scale to describe contrasting personalities of the two characters and a chord based on 2nd intervals to express the moment when Rotwang’s evil reaches its zenith. Metropolis serves not only as an artistic repository for numerous symbols, but also as a web of leitmotifs towards musical and filmic unity.
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Franks, Daniel. "Jazz in Hollywood (1950s – 1970s)." Thesis, University of Southampton, 2015. https://eprints.soton.ac.uk/381456/.
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Serious jazz can be found in places where it is least expected, in mainstream Hollywood films. This thesis aims to demonstrate how film composers (such as Henry Mancini, Quincy Jones and Lalo Schifrin) challenged established conventions in the music and film industries between the late 1950s and the late 1970s. During this period, film composers were producing jazz for a global audience; their musical contribution is integral to our current understanding of jazz history. It is by viewing the history of film music through the various ways in which it is received (in music journals, performances, publications, recordings, films) that a new perspective on jazz history will be achieved. Giving focus to individual film scores, using detailed analysis and transcription, this thesis will highlight key moments in history that reveal how important film composers are to the story of jazz. With the study of journalistic and academic publications, it will also show how wider changes in American society were represented by jazz composers in film scores. Considering the history of jazz through the reception of Hollywood film scores enables new ways to define the genre. For instance, by taking into account the future performance life of a composition, this thesis will provide a new perspective on the fundamental characteristics of a jazz composition. These new ways to consider the genre demonstrate why film music should be included within the jazz-historical canon.
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Duncan, Dean William. "Classical music in narrative film : strategies for use and analysis." Thesis, University of Glasgow, 2000. http://theses.gla.ac.uk/9082/.
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The present study deals with the use of classical music in narrative film, and some of the theoretical and historical considerations that can help us contextualize and understand that use. The following is a list of chapters, and a summary of concepts contained therein. CHAPTER ONE: After briefly considering some of the challenges of interdisciplinary scholarship, I will review the literature on classical music in the sound film. This review will touch upon the early (1930s and 1940s) commentaries of Kurt London, Hanns Eisler and Theodor Adorno, and John Huntley, and then pass on to a kind of concensus held between both commentators and composers of the 1960s and 1970s. Finally I will review the work of more recent film music scholars who, along with some others working in other fields, provide what I feel to be a more open model for understanding this kind of film music. CHAPTER TWO: Having reviewed the position of the film music community, this chapter will concern some responses of music critics to film music generally, and the appropriation of classical music in particular. I will outline specific complaints and criticisms, and attempt to show some of the broader socio-musical issues that motivated them. CHAPTER THREE: This chapter will consider the musical parallelism associated with traditional Hollywood-type narratives, and then concentrate on the oppositional model (derived from "montage" aesthetics) represented by Soviet and other modernist cinemas. I will deal especially with the influential "counterpoint analogy, " and consider how musical discourse can resolve some of the confusions that this analogy has habitually presented. CHAPTER FOUR: The last chapter will have presented a counterpoint based on musical principles as a possible analogy or metaphor for how film music works, and how its meaning and affect can be understood. This chapter is about the programme music tradition that prevailed in the nineteenth century. I will enumerate some of its sin-fflarities, musically and in terms of its critical reception by the music community, to film music. I will explore how programmes, or extra-musical narratives, are also central to understanding musical meaning, and to the use of classical music in films. CHAPTER FIVE: Here I will look more closely at montage, meaning, and classical music on film. A number of questions will be addressed. What are the interpretive strategies that most apply? How does musical meaning function in a film context, especially with regard to source music? Beyond classical music in general, what is the importance of periods, idioms, composers and specific pieces? What is the significance of the artist's intent? What about when the artist is not fully in control of his circumstances, or of his craft? What of phenomenology? All of these expansions obviously complicate the equation. Accordingly the concept of indeterminacy will be reviewed to suggest how both chance and control operate within musical montage. CHAPTER SIX: I will suggest and expand upon some of the extra-musical implications of this study. I will suggest some of the possibilities these raise for future research.
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Seidel, Sebastian Martin. "A portfolio of compositions and an investigation into electroacoustic compositional techniques and aesthetics in cinematic film." HKBU Institutional Repository, 2014. https://repository.hkbu.edu.hk/etd_oa/98.
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The purpose of this study is to investigate the occurrences of electroacoustic content in and its relation to cinematic film. Key research questions include: What pioneering techniques and aesthetic positions used by creators of early electroacoustic music have found their way into mainstream cinema? Where and when have they been developed? In which films do they appear, and how are they distributed among film genres? The findings of this study assert the idea that many techniques that are part of sound design of contemporary cinematic film (the process and result of mixing and manipulating sounds) come directly from pioneers of electroacoustic music. Electroacoustic techniques and aesthetics play an important role in the history of sound film in making fundamental contributions to production processes, the relation between directors and sound makers, and film sound theory. On an aesthetic level, electroacoustic music in film has reformed the role of sound in film: a film score can contain 'noise', while speech and sound effects can actually serve as music. The findings also assert that electroacoustic techniques and aesthetics can be found in cinematic film from the beginning of sound film in the late 1920s. Once established, techniques have largely remained the same, regardless of the carrier media and their transformation from analog to digital: modern, digital techniques are refinements of their analog predecessors. Aesthetics have developed along with techniques, albeit much slower; their potential and exploration is far from being exhausted. The use of electroacoustic content for a particular element of film sound is not unusual and often genre-specific (for example in science fiction and thriller). However fully electroacoustic scores are rare. A portfolio of selected original compositions by the author complements this study. Acoustic and electroacoustic pieces for film and multimedia highlight different aesthetics, techniques and practices of film sound and film music.
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Hogg, Anthony. "From 'Can't Buy Me Love' to 'How Deep is Your Love?' : an analysis examining key phases of development of the functions of popular music in U.K. and U.S. films of the 1960s and 1970s." Thesis, University of Gloucestershire, 2017. http://eprints.glos.ac.uk/5443/.
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This thesis aims to identify the extent to which popular music functionality in UK and US film can be regarded as a developmental process, and, in particular, the importance of the contribution of the 13-year period bounded by the films A Hard Day’s Night (Richard Lester, UK, 1964) and Saturday Night Fever (John Badham, USA, 1977) to this. It also explores salient cultural, historical and industrial factors which may have influenced development. Both these areas have been largely neglected to date. Within the period identified above, three key phases have been recognized which each contributed to specific innovations and developments. These have been labelled ‘The British Invasion Phase’, ‘The New Hollywood Alienation Phase’ and ‘The Disco Phase’. For each of these a primary film text (A Hard Day’s Night, The Graduate and Saturday Night Fever respectively) is analyzed in detail, with reference to the work of Claudia Gorbman and Jeff Smith on the principles of musical function in film. In addition, these chapters are prefaced by an examination of a further stage, ‘The Classic American Musical Phase’, covering a period of relative inactivity, in respect of developments in popular music function, prior to the ‘British Invasion Phase’. Examples of two of Elvis Presley’s films, Girls! Girls! Girls! and It Happened at the World’s Fair, are examined to illustrate why innovation was lacking at this time. As this thesis is not only concerned with what innovations occurred but also why they manifested specifically during a particular phase, individual chapters extend beyond pure film analysis into a study of crucial elements of cultural and popular music history associated with aspects of The British Invasion, New Hollywood and Disco.
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Jansen, Rhyno. "The alchemy of sound : creating unbelievable believability through audiovisual fusion." Thesis, Stellenbosch : University of Stellenbosch, 2011. http://hdl.handle.net/10019.1/6561.
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Thesis (MPhil (Music))--University of Stellenbosch, 2011.ENGLISH ABSTRACT: This thesis represents an attempt to explore the use of metadiegetic film sound and its connection with qualities displayed by human physiology. Metadiegesis is chosen as the focus of this study, in order to point out the potential of film sound to be representative and not to slavishly imitate its visual counterpart. Therefore, because metadiegetic sound is deictic in nature, the first hurdle to clear was to navigate through a terminological minefield, allowing a clear glimpse of its true meaning and its connection with the filmic image. The researcher attempts to create hypothetical scenarios in order to analyse and discuss metadiegetic examples from films, convincingly utilised and less-convincingly so. The intention was to understand, clarify and disambiguate terminological uncertainties and inaccuracies. An exploration of asynchronous metadiegetic sound follows as refinement of the first step. This is done by resorting to existing examples in the form of extracts from films for demonstration purposes. As a result, the use of metadiegetic film sound is clearly defined and its use explained by attaching it to three concepts: a ‘story within a story’, external story space, and internal representation. It is argued that through these concepts, sound can be amalgamated with image to create a different realm, where sound and image tell more than an audio-visual story.
AFRIKAANSE OPSOMMING: In hierdie tesis poog die navorser om die gebruik van “metadiegetic” film-klank, en die verband wat dit met die menslike fisiologie hou, te verken. “Metadiegesis” vorm dus die fokuspunt van die navorsingstuk. Hierdie fokus beklemtoon film-klank se verteenwoordigende potensiaal, en die feit dat dit nie net ʼn slaafse nabootsing van die visuele aspek van film is nie. Aangesien “metadiegetic” klank dus deikties van aard is, is die eerste uitdaging om ʼn weg te vind deur ʼn terminologiese mynveld. Dit word gedoen in ʼn poging op ʼn duidelike begrip van die ware betekenis van “metadiegesis” te ontwikkel, en om die verband wat film-klank met die visuele aspek van film het, duidelik te maak. Die navorser poog in die eerste plek om hipotetiese scenario’s te skep om sodoende “metadiegetic” voorbeelde in films te analiseer en te bespreek. Die doel is om terminologiese onsekerhede en dubbelsinnighede te verstaan en te verklaar. Dan volg die verkenning van asinchroniese “metadiegetic” klank as verfyning van die eerste stap. Dit word gedoen deur gebruik te maak van film-uittreksels ter verduideliking van die bogenoemde stappe. Na aanleiding hiervan, is die gebruik van metadiegetiese film-klank duidelik gedefinieer, en die toepassing daarvan gekoppel aan drie konsepte: ʼn “storie binne-in ʼn storie”, “eksterne storie ruimte” en “interne verteenwoordiging”. Deur middel van hierdie konsepte kan klank saamsmelt met beeld om ʼn ander dimensie te betree, waar klank en beeld meer vertel as ʼn oudiovisuele storie.
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Laing, Heather Ann. "Wandering minds and anchored bodies: music, gender and emotion in melodrama and the woman's film." Thesis, University of Warwick, 2000. http://wrap.warwick.ac.uk/2320/.
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This thesis examines the role of music and cultural conceptions of emotion and `the feminine' in gendered characterisation in 1940s melodrama and the woman's film. Music in melodrama and the woman's film predominantly follows the late-19th century Romantic style of composition. Many theorists have discussed this type of music in film as a signifier of emotion and `the feminine', a capacity in which it is frequently associated with female characters. The full effect of an association with this kind of music on either female or male characterisation, however, has not been examined. This study considers the effects of this association through three stages - cultural-historical precedents, the generic parameters of melodrama and the woman's film and the narrativisation of music in film. The specific study of films involves textual and musical analysis informed by cultural-historical ideas, film music theory and film theory. Since female characters are more commonly associated with music in this context, they form the primary focus of the study. Male musical-emotional characterisation, while of constant concern, comes under particular scrutiny as the final stage of the study. In conclusion I argue that cultural assumptions combine with the formal representations of film to construct a model of gender based on the idea of `inherent' emotionality. As a definitive element of this dynamic, music functions as more than just a signifier of emotion. Rather, it takes a crucial role in determining how we actually understand emotion as part of gendered characterisation.
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Onofre, Cintia Campolina de. "O zoom nas trilhas da Vera Cruz : a trilha musical da Companhia Cinematografica Vera Cruz." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284784.
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Orientador: Claudiney Rodrigues CarrascoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A presente dissertação de mestrado elabora um panorama das trilhas musicais dos filmes da Companhia Vera Cruz e contribui para o preenchimento de uma lacuna bibliográfica sobre trilhas musicais brasileiras da década de 50. Com esse estudo, verificamos como alguns compositores procederam, entendendo as características estéticas da época e percebendo como estas composições musicais se situam no cenário de trilha sonora cinematográfica no Brasil. Para tanto, foram realizadas consultas bibliográficas, hemerográficas, entrevistas e análises fílmicas aliadas à teoria musical dos dezoito filmes de ficção da Vera Cruz
Abstract: This present master¿s thesis elaborates a panorama of the soundtracks of the Cinematographic Company Vera Cruz and contributes for the fulfilling of a bibliographical gap on the Brazilian musical tracks from the fifties decade. With this study, we verify how some composers had proceeded, understanding the aesthetic characteristics of that period of time having the perception as these musical compositions had taken place into the Brazilian¿s cinematographic soundtrack scenario. On account of these research bibliographical, interviews, research in reviews and newspapers from that period and filmic analyses allied to musical theory have been done on the eighteen fiction Vera Cruz films
Mestrado
Mestre em Multimeios
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Hudgins, Donald A. "Rhythm and Views: A Compilation of Eight Projects Including Scoring, Video Production and Motion Graphic Design." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1206070566.
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吳月華. "歌影拍和 : 粤語青春歌舞片歌曲與電影的關係 (1966-1969) = Songs in tune with movies : the relationship of movie songs and Cantonese youth musicals in 1966-1969." HKBU Institutional Repository, 2006. http://repository.hkbu.edu.hk/etd_ra/687.
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Messenger, Cory Luke Joseph. "Calling the Tune: Hollywood and the Business of Music." Thesis, Griffith University, 2011. http://hdl.handle.net/10072/366651.
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Calling the Tune: Hollywood and the Business of Music combines historical research on the US film and music industries with textual film analysis in order to examine how the growing conglomeration of these two institutions affected outcomes in cultural production in the twentieth century. Ultimately, this study argues, the relationship between commercial film and popular music led, in the late 1960s and early 1970s, to the emergence of New Hollywood, a term which encompasses both aesthetic and economic considerations, and which still describes contemporary commercial film production. This thesis traces the origins of New Hollywood back to the late 1920s and the advent of talking motion pictures. During this period issues surrounding the licensing of musical copyrights for inclusion in films led the major Hollywood studios to invest heavily in music publishing, so as to absorb the processes of music composition into the established studio system. After buying the key publishing firms on Tin Pan Alley, the studios soon learned that cross-media ownership enabled them to spread financial risk across interrelated commercial products. Hollywood also came to dominate the board of the American Society of Composers, Authors and Publishers, the licensing body which controlled the promotion and dissemination of American popular music. In the 1930s the Hollywood musical emerged as the ideal medium with which to promote new copyrights, which in turn could promote the films they featured in via radio play. But as radio grew in size and influence due to its own reliance on popular music, the major film studios and the US radio networks clashed over licensing fee rates.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Humanities
Arts, Education and Law
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Pieczenik, Sharon Rovner. "We are still talking the wrong language to 'tv babies'." Thesis, Montana State University, 2008. http://etd.lib.montana.edu/etd/2008/pieczenik/PieczenikS0508.pdf.
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In order to reach a young generation diagnosed with \"nature deficit disorder\" and flooded with mass media messages from a myriad of channels, non governmental organizations (NGOs) and environmental educators need to embrace musical videos as a tool for conservation education. Rare Conservation is one NGO that utilizes music videos as an innovative technique to reach a younger audience in order to foster a sense of pride and concern for the environment in which they live. In 1992, RARE Conservation produced a music video for the song \"Quincy Rap\" by Tony (The Obeah Man) McKay. The \"Quincy Rap\" music video was one environmental tool in the overall campaign to save the endangered and endemic Bahamian Parrot. By analyzing the \"Quincy Rap\" music video, a guideline for creating persuasive music videos can be constructed. In order to analyze a music video, like \"Quincy Rap,\" it is best to take a multi-perspective approach, first dissecting the visual elements of the video then looking at the audio elements and then concluding with how the visual and audio elements intersect. By juxtaposing music video techniques with those found in other forms of video production, certain persuasive elements of music video production can be highlighted. This unique rhetoric of music videos can be utilized as persuasive environmental education.
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Ng, Stephanie Yuet Wah. "Modes of production in post-war cantonese cinema : bricolage and sing-song comedy." HKBU Institutional Repository, 2013. http://repository.hkbu.edu.hk/etd_ra/1532.
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Leech, Charles Cairns Danebury. "The metasemiotics of classical music & film : the recontextualisation of Strauss and Wagner in pop culture." Thesis, Queensland University of Technology, 1999.
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Employing a cross-disciplinary theoretical base that encompasses intertextuality theory, film studies, and musicology, this thesis examines the media combination of classical music and Hollywood film, and its role in
popular culture. Three classical music case histories are examined: the 'Introduction' from Strauss's Also sprach Zarathustra; the 'Ride of the Valkyries' from Wagner's opera The Valkyrie; and the 'Liebestod' from Wagner's Tristan and Isolde. Throughout these case histories (and the
numerous films in which these pieces of music are heard), narrative congruence between the music and the associated visual image is demonstrated. Eventually the music achieves the pop culture status of 'metaleitmotif'. The combination of classical music with film is thus shown to be a complex example of the kind of multimedia intertextual reference that makes up modern metasemiotic pop culture.
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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 MendesTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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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
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
Doutorado
Multimeios
Doutor em Multimeios
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Clò, Clarissa. "Italy in the world and the world in Italy : tracing alternative cultural trajectories /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2003. http://wwwlib.umi.com/cr/ucsd/fullcit?p3100380.
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Jeppie, Shamil. "Aspects of popular culture and class expression in inner Cape Town, circa 1939-1959." Thesis, University of Cape Town, 1990. http://hdl.handle.net/11427/24109.
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Bias, Rebecca H. "From golden age to silver screen French music-hall cinema from 1930-1950 /." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1117225437.
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Thesis (Ph. D.)--Ohio State University, 2005.Title from first page of PDF file. Document formatted into pages; contains vii, 216 p. Includes bibliographical references (p. 195-216). Available online via OhioLINK's ETD Center
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Tohline, Andrew M. "Towards a History and Aesthetics of Reverse Motion." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1438771690.
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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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Orientador: Claudiney Rodrigues CarrascoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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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
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
Mestrado
Fundamentos Teoricos
Mestra em Música
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Burger, Alissa Dian. "From 'The Wizard of Oz' to 'Wicked': Trajectory of American Myth." Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1236369185.
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Hernon, Hiatt K. "INFINITE JEST 2." Ohio University Honors Tutorial College / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1526633419508737.
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Horton, Brian (Saxophonist). "Tone Parallels in Music for Film: The Compositional Works of Terence Blanchard in the Diegetic Universe and a New Work for Studio Orchestra by Brian Horton." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011761/.
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This research investigates the culturally programmatic symbolism of jazz music in film. I explore this concept through critical analysis of composer Terence Blanchard's original score for Malcolm X directed by Spike Lee (1992). I view Blanchard's music as representing a non-diegetic tone parallel that musically narrates several authentic characteristics of African-American life, culture, and the human condition as depicted in Lee's film. Blanchard's score embodies a broad spectrum of musical influences that reshape Hollywood's historically limited, and often misappropiated perceptions of jazz music within African-American culture. By combining stylistic traits of jazz and classical idioms, Blanchard reinvents the sonic soundscape in which musical expression and the black experience are represented on the big screen. My new work––Black Magic––is a musical response to the research found within this study. The through-composed piece is written in three movements for a studio orchestra. It is an homage to the musical, cultural, and entertainment contributions of African-Americans in the magical realm of Hollywood cinema.
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Griffin, Stephanie A. "A qualitative inquiry into how romantic love has been portrayed by contemporary media and researchers." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1149001149.
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Torelló, Oliver Josep. "La música en els films: la subversió del llenguatge cinematogràfic en l'obra de Pere Portabella (1967-1976)." Doctoral thesis, Universitat de Barcelona, 2015. http://hdl.handle.net/10803/301767.
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El llenguatge cinematogràfic és un llenguatge artístic i comunicatiu certament complex. El punt de partença del treball és que la presència de la música en els films defineix part dels mecanismes ontològics, narratius, expressius, dramatúrgics, psicològics o, fins i tot, històrics amb què el llenguatge cinematogràfic articula la seva diègesi. Es porta a terme una recerca entorn de l'estudi de la música present en el cinema, posant el focus en l'obra cinematogràfica que el director català Pere Portabella realitza en el període comprès entre 1967 i el 1976. Portabella, nascut a Figueres l'any 1927, desenvolupa la seva activitat com a realitzador cinematogràfic a partir de la segona meitat dels anys seixanta del segle XX.
Des d'un punt de vista sincrònic, la episteme de la "imatge contemporània" conjuga, en el seu si, la dualitat del valor icònic i del valor sonor i musical. Així, tot i que aquest treball estudia la música en el cinema, i la relació estètica i formal de la imatge i la música en el conjunt de l'expressió cinematogràfica, aquest és, també, un treball sobre la "imatge", en el qual es prova d'explicar aquest fet: com la música és un element que pertany als mecanismes de la construcció de la imatge moderna i contemporània. Aixi, hem procurat entendre i justificar com la principal construcció icònica del segle XX -la imatge que neix amb el cinematògraf, la imatge que capta, finalment, el moviment del món- adquireix i assimila una dimensió sonora i musical en el seu flux, en el seu camp epistemològic.
D'altra banda, des d'una perspectiva diacrònica, el llenguatge cinematogràfic ha evolucionat de manera constant durant el transcurs del segle XX i provem d'estudiar quin ha estat el paper de la música en aquesta evolució. L'anomenada Manera de Representació Primitiva (mrp), pròpia dels inicis del cinematògraf, es transforma en la Manera de Representació Institucional (mri), que s'expressa en el cinema considerat clàssic. A partir dels anys seixanta, quan amb l'eclosió a Europa dels Nous Cinemes la mri és posada en dubte, estudiem una nova concepció cinematogràfica anomenada "cinema de la modernitat" o Manera de Representació Moderna. És en aquest darrer període en què podem contextualitzar la proposta cinematogràfica de Pere Portabella en el període 1967-1976: en certa manera, Portabella inaugura la modernitat cinematogràfica a l'Estat Espanyol, subvertint amb el seu cinema els cànons del llenguatge de la mri. La nostra investigació procura atendre com Portabella articula aquesta subversió del llenguatge cinematogràfic a través de la música; és a dir, l'estudi des d'un punt de vista estètic, de com el cineasta situa la seva praxi artística als marges de la sintaxi imperant i quin és el valor que té, la presència de la música, en l'articulació d'aquesta proposta cinematogràfica moderna.
L'anàlisi del cinema del director català en la seva etapa 1967-1976, ens permet estudiar aquesta "imatge" en l'articulació moderna del cinema i atendre la seva relació amb la música en aquesta epistem que, en el transcurs del treball, anomenem "imatge musicada". Proposem aquest terme -"imatge musicada", entesa com a aquella expressió, aquell flux de vibracions i d'ones, de sons i de llum, que aglutina en el seu si la dimensió icònica pròpia de la (re)presentació visual i la dimensió sonora pròpia del llenguatge musical de la "imatge"-, per enfocar, d'una manera original i interdisciplinària, l'estudi de la "imatge" i la música en la construcció del llenguatge cinematogràfic modern a través de l'anàlisi dels films del director català.
Les característiques estètiques i l'evolució d'aquesta formulació epistemològica és el que aquest treball ha estudiat, investigació que s'ha concretat en l'anàlisi de l'obra cinematogràfica de Pere Portabella.
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Lupro, Michael Mooradian. "Space Oddities for the Age of Space Tourism." Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1239723528.
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Wellborn, Brecken. "Musicals and the Margins: African-Americans, Women, and Queerness in the 21st Century American Musical." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404583/.
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This thesis provides an overview of the various ways in which select marginalized identities are represented within the twenty-first century American musical film. The first intention of this thesis is to identify, define, and organize the different subgenres that appear within the twenty-first century iterations of the musical film. The second, and principal, intention of this thesis is to explore contemporary representations of African-Americans, women, and queerness throughout the defined subgenres. Within this thesis, key films are analyzed from within each subgenre to understand these textual representations.
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Furlong, Alison Marie. "Georg Wildhagen's Figaros Hochzeit: How an Italian Opera Based on a French Play Became a German Socialist Film." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1269535387.
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Gille, Quentin. "Propositions pour un paradigme culturel de la phono-cinématographie: des phono-scènes aux vidéoclips et au-delà." Doctoral thesis, Universite Libre de Bruxelles, 2014. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209309.
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La proposition centrale de cette thèse est double. D’une part, il s’agit de jeter les bases d’un modèle historique qui réunirait tous les dispositifs audiovisuels qui associent des images animées à une chanson populaire qui leur est préexistante sous un même paradigme culturel que nous baptiserons « phono-cinématographie ». Celui-ci aurait débuté vers la fin du XIXe siècle, avec l’invention du kinétoscope d’Edison, pour aboutir à nos jours avec l’émergence des vidéos musicales interactives sur Internet. D’autre part, il s’agit de nous interroger sur le rôle a priori central que les Beatles occupent au sein de cette histoire de la chanson populaire mise en image. Notre hypothèse principale est que le vidéoclip, tel qu’il s’est institutionnalisé au début des années 1980 pour ensuite se perpétuer jusque dans les années 2000, n’a rien d’une pratique culturelle (voir même d’un média) figé(e) :bien au contraire, cette pratique/ce média a été l’objet de réélaborations continues tant sur le plan de la production, de la diffusion que de la fonction.Notre approche se situe à cheval sur l’histoire du cinéma, de la musique populaire et de la télévision. En nous appuyant sur certaines propositions théoriques et certains concepts formulés dans le champ des études cinématographiques ainsi que dans le champ des performance studies, nous serons particulièrement attentif aux questions de représentation qui se déploient dans ces différents dispositifs phono-cinématographiques :à savoir, les premiers films chantants (les phono-scènes Gaumont et les Vitaphone shorts), les juke-boxes équipés d’un écran (les Soundies et les Scopitones) et enfin les vidéos musicales télévisées (les films promotionnels et les vidéoclips).
Doctorat en Information et communication
info:eu-repo/semantics/nonPublished
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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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Moreland, Kathleen A. "Of Thee We Sing: Roots of the American Songbook." University of Akron / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=akron1428148686.
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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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Wellborn, Brecken. "Musicals and the Margins: African-Americans, Women, and Queerness in the Twenty-First Century American Musical." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc1404583/.
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This thesis provides an overview of the various ways in which select marginalized identities are represented within the twenty-first century American musical film. The first intention of this thesis is to identify, define, and organize the different subgenres that appear within the twenty-first century iterations of the musical film. The second, and principal, intention of this thesis is to explore contemporary representations of African-Americans, women, and queerness throughout the defined subgenres. Within this thesis, key films are analyzed from within each subgenre to understand these textual representations.
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Batchelder, Daniel Lev. "American Magic: Song, Animation, and Drama in Disney's Golden Age Musicals (1928-1942)." Case Western Reserve University School of Graduate Studies / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=case1523442817785887.
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Soler, i. Alomà M. Encarnació. "La sarsuela en el cinema com a imatge del quotidià : 1896-1940." Doctoral thesis, Universitat de Barcelona, 2005. http://hdl.handle.net/10803/403462.
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Un dels més reeixits descobriments nascut a les acaballes del segle XIX, el cinema, marcà definitivament la societat aportant noves formes de comunicació i de relació social. Aquest nou art esdevindria no sols una font de distracció i coneixement sinó que, com qualsevol producció artística de l’ésser humà, deixaria una empremta que amb el temps mostraria la seva magnitud com objecte patrimonial.
Néta i filla de músics vaig aprendre a estimar la música, sense distinció. Per aquest motiu, lamentava el rebuig vers el conjunt d’un gènere centenari, la sarsuela, que tants esforços i lluita va comportar als seus autors, músics tan lloables com els que més, músics que s’hagueren de sentir-se titllats en to despectiu de “sarsueleros”. Hom pot comprovar que hi ha música de sarsuela de tan bona qualitat com la de les òperes; hi ha arguments de sarsuela absolutament refusables o excel·lents, com també n’hi ha d’òperes. Per aquests motius, el meu objectiu bàsic va ser l’intent de dignificar el gènere, reivindicar-lo com a espectacle popular, transformat i manipulat segons arbitri del poder dominant, com intentaré demostrar al llarg de la meva exposició.
Per què una societat que encara avui conserva aspectes que provenen de l’assimilació interna generada a través de molts anys rebutjava aquest espectacle? Per què aquest sentiment que la música feta a l’estranger és millor? Quins havien estat els mecanismes que havien arribat a generar en el subconscient col·lectiu aquesta afirmació?
Pel que fa al cinema, l’enorme interès desvetllat vers aquest camp d’investigació, de la que aquesta Facultat és un exemple, iniciat pel Dr. Miquel Porter i admirablement seguit per un important nombre de distingits professors i professores, alumnes ensems del doctor Porter, es presentava més planera. Però el problema es presentà en el moment en què vaig voler aprofondir a l’apartat de les sarsueles cinematogràfiques: en primer lloc –apart d’algun estudi posterior sobre una obra concreta – a la majoria de llibres d’història del cinema espanyol se solventava l’apartat dedicat a les sarsueles amb unes quantes línies. Hi havia una confusió enorme en relació a algunes obres que eren sarsueles, tipificades com a sainets, comèdies, musicals... Algunes d’elles, que provenien de sarsueles, ni tan sols hi figurava aquest origen. De moltes obres hi havia poques dades, només el títol i l’any de rodatge o estrena, amb unes línies sobre el contingut, però la majoria de vegades, res... En resum: la sarsuela hi era de pas.
Vist l’estat de la qüestió, calia emprendre la tasca en vàries vessants: la investigació de la sarsuela en si, dels seus orígens i producció, i dels films que es feren d’elles, amb els mateixos objectius i la interrelació entre ambdós gèneres populars.
La primera part de la investigació, la recerca dels llibrets originals, suposà una gran inversió de temps, donada la dispersió dels materials. Per a la segona part, calia cercar les realitzacions cinematogràfiques que es feren de les sarsueles, buscant-les a diverses filmoteques de l’Estat espanyol, feina gens fàcil, o cercar-les en col·leccions del mercat. La realitat fou molt colpidora: les obres dels primers anys del cinema s’havien perdut en la seva immensa majoria, ja no existien. Segons les dades que es donen a totes les estadístiques del cinema espanyol, de la primera etapa, corresponent al cinema primitiu, s’ha perdut prop del 98 % de la producció, dades susceptibles de desencoratjar vers l’obtenció d’una recerca acurada. Era necessari, doncs, fer un cens del que quedava a les filmoteques de l’Estat espanyol. Va ser enviada la demanda d’informació a totes elles i a les distribuïdores de cinema.
Conseqüència d’aquesta tesi ha estat l’estudi de totes les productores i directors que es dedicaren a filmar sarsueles a l’Estat espanyol, així com també a l’estranger. La tesi albira proporcionar una relació de la gran quantitat de films que les productores dedicaren a aquest camp, analitzar les sarsueles produïdes, quina fou la versió escollida per a la seva versió cinematogràfica i esclarir els films que són en realitat sarsueles, no comèdies, ni sainets, ni musicals, qualificatius genèrics emprats habitualment a les filmografies de cinema espanyol.
Una altra aportació de la tesi pretén destacar la primordial importància del teatre líric en la primera etapa del cinema primitiu espanyol deixant palès quines són les favorables interrelacions de dos gèneres populars, amb recursos a l’hora tan diversos, com són el teatre líric i el cinema que, no cal oblidar-ho, en els seus orígens no tenia so imprès al suport i per tant, depenia del so afegit, en directe o enregistrat.
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Remse, Christian. "Vodou and the U.S. Counterculture." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1368710585.
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Thomas, Quincy D. "Lycra, Legs, and Legitimacy: Performances of Feminine Power in Twentieth Century American Popular Culture." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1521852471021414.
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Davenport, Jeremiah Ryan PhD. "From the Love Ball to RuPaul: The Mainstreaming of Drag in the 1990s." Case Western Reserve University School of Graduate Studies / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=case1499363704491381.
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