Tesis sobre el tema "Film sonore"
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1
McCann, Mark. "Penser l'écran sonore les théories du film parlant /". Click here to access, 2006. http://thesis.library.adelaide.edu.au/public/adt-SUA20070320.161033/index.html.
2
Sousa, Dias António de. "L'objet sonore : situation, évaluation et potentialités : un paradigme pour la création d'outils de composition musicale". Paris 8, 2005. http://www.theses.fr/2005PA082612.
Resumen
Nous proposons une étude sur les potentialités compositionnelles résultant de la conjonction de la notion d'objet sonore et du transfert progressif des technologies musicales vers le milieu numérique. Partant de l'objet sonore de Schaeffer et parcourant les écrits d’autres auteurs (Bayle, Smalley, Wishart), nous en arrivons au concept d'objet sonore numérique de Vaggione qui articule cette conjonction. Il en découle deux conséquences : la constatation de l'élargissement de l'écriture musicale et une attitude compositionnelle fondée sur l’idée de l’oeuvre comme le résultat d’une interface vers une base de données musicales (d’après Manovich). Nous décrivons enfin les logiciels et les œuvres qui nous ont permis d’aboutir à deux résultats concrets : un logiciel de gestion des patches externes (KITTy) et la musique pour un documentaire de création, Nature Morte, dont l’existence n’auraient pas été possibles sans les réflexions et conséquences présentéesWe propose a study on the composition potentialities resulting from the conjunction of the object sound concept and the progressive transfer of musical technologies to the digital media. Beginning with the sound object of Schaeffer, through the writings of other authors (Bayle, Smalley, Wishart), we arrive at the concept of digital sound object of Vaggione, which articulates this conjunction. Two consequences result: the statement of the enlargement of musical writing and a compositional attitude based upon the idea of a work as the result of an interface to a musical database (adapted from Manovich). Finally we describe the software and the works which guided us to two concrete results: a software for external patches management (KITTy) and the music for the “found footage” documentary Nature Morte which would not have been possible without the reflection and consequences presented here
3
Teichner, Noah. "Le “canned” vaudeville et la mise en conserve médiatique aux États-Unis, du phonographe au film sonore : étude média-archéologique des courts métrages Vitaphone au format son-sur-disque (1926-1930)". Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080071.
Resumen
L’expression historique “canned” vaudeville désigne la « mise en conserve » du vaudeville américain (un spectacle de variétés dépendant de numéros diversifiés) par des moyens filmiques ou phonographiques. En croisant l’analyse des discours et l’analyse technique et formelle, cette thèse propose une archéologie de la mise en conserve médiatique à partir du vaudeville filmique et du vaudeville phonographique. Les courts métrages Vitaphone de la Warner Bros. au format son-sur-disque occupent une place centrale dans l’articulation de cette problématique sur une période allant des débuts de la phonographie et de l’institutionnalisation du vaudeville à la fin du 19ème siècle jusqu’à la généralisation de la technologie électro-acoustique dans le cinéma et les médias sonores dans la seconde moitié des années 1920. Suite à l’investigation du vaudeville sous le double angle de média de masse et de médium sensible, la place négligée du terme “canned” dans l’histoire des médias est revisitée à partir du cas de la phonographie acoustique et des discours corporatifs sur la “canned” music et le “canned” vaudeville. Il est ensuite question du contexte intermédiatique du vaudeville filmique à la généralisation du parlant et de la production, distribution et réception des courts métrages Vitaphone. Une analyse des possibilités matérielles du procédé son-sur-disque et de la mise en œuvre de son dispositif multi-caméra permet de mener une étude approfondie des stratégies d’adresse et de diégétisation dans les courts métrages restaurés de 1926-1930 et de les mettre en perspective pour la première fois avec des pratiques du vaudeville phonographique remontant au tournant du 20ème siècleThis dissertation reads the discourses, practices, and materialities of filmic and phonographic vaudeville through the broader history of “canned” media. Warner Bros.’ short films produced with the sound-on-disc Vitaphone process play a central role in this study which covers a period ranging from the beginnings of the phonograph industry and the institutionalization of vaudeville in the late 19th century to the introduction of electroacoustic technology in film and sound media during the second half of the 1920s. After studying vaudeville’s infrastructure as a mass media institution and its aesthetic capacities as a medium, the neglected role of the term “canned” in media history is reconsidered through practices of early phonography and trade press discourses on “canned” music and “canned” vaudeville. This leads to a contextualization of filmic vaudeville within the media landscape of the 1920s—the decline of big-time vaudeville and the rise of stage presentations in movie theatres—and an analysis of Vitaphone shorts’ production, distribution, and reception. The material possibilities afforded by the Vitaphone sound-on-disc technology and multi-camera set-up are then outlined and examined in relation to debates regarding sound and image scale. These technical considerations lay the groundwork for an in-depth investigation of approaches to address and diegetisation in the restored Vitaphone shorts from 1926-1930. The films’ means of addressing the spectator and of representing both the audience and the space of performance are put in perspective through examples of phonographic vaudeville dating back to the turn of the 20th century
4
Djankoff, Christine Gamita M. "Essai d'anthropologie visuelle & sonore d'un "rite élémentaire" - Film de recherche "La joie du feu" : ethnographie de la permanence d'une praxie ontologique pyrobate & de la croyance afférente en Europe orientale". Paris 7, 2003. http://www.theses.fr/2003PA070095.
Resumen
De nos jours en Europe, les nestinari en Bulgarie, les anesténarides du Nord de la Grâce dansent sur les braises, baignés de la même ferveur que celle des pyrobates de l'Espagne septentrionale et des Nyungwes de Tété en Afrique australe : Ce rituel « élémentaire » de marche ou de danse sur le feu a été abordé sous l'angle de ses origines, des mécanismes psychosociologiques, neurophysiologiques patents -mis en oeuvre pour ce qui touche a l' «Incombustibilité» et à l'insensibilisation-, des comportements individuels et collectifs, des évolutions historiques comme des significations sociales. Ce point de vue s'est reposé sur une tradition philosophique zététique & méthodologique liées au champ ethnologique. Il,s'est agi de susciter une « synergie transversale » afin de mettre en cause et impliquer directement le parallélisme des diverses branches des sciences humaines considérant le rituel et le « fait de communication » dans sa globalité, toute en construisant progressivement une réflexion à caractère témoin grâce à l'outil majeur de l'anthropologie visuelle et sonore. Son intérêt se peut donc résumer ainsi : - Permettre l'approfondissement d'une manifestation culturelle supposée non décrite ainsi,- Déterminer avec plus d'exactitude l'influence de l'environnement social, lors de leur déroulement. Cette recherche compte dans son analyse principale l'élaboration d'un document audiovisuel à portée anthropologique, portrait d'une nestinarka, inclus & soutenu en ce mémoire numériqueNowadays in Europe, the "Nestinari" from Bulgaria, the "Anestenarides" from Northern Greece dance on burning charcoals, enlightened by the same enthusiasm as the pyrobates from septentrional Spain and the "Nyungwes of Tété" from Southern Africa : its "elementary rite of walking or dancing on fire was discussed through the perspectives of its origins, of its sociopsychological and obviously neurophysiological mechanisms — in connection with the belief of the incombustibility and insensitivity of the human body - , of its individual and collective behaviours , of its historical evolution, as well as its social meanings. This point of view relies on a zetetic methodological and philosophical tradition, related to the ethnological domain. The point was to give rise to a "transverse synergy" in order to directly involve the parallelism of the various branches of the social sciences considering the rite: and the "way of communication" as a whole, while building gradually a conception in a pilot matter thanks to visual anthropology. Its interest can thus be summarised as follows : - Allowing to deepen a assumablely not described cultural event, - Determining more accurately the influence of the social environment throughout the unfolding of this event. This research includes in its analysis the realisation of an audio-visual document in the anthropological range, the portrait of a "Nestinarka", included and argued in this digitally formatted work
5
Valencia, Brandon. "Sonoran". Digital Commons at Loyola Marymount University and Loyola Law School, 2017. https://digitalcommons.lmu.edu/etd/308.
6
Schuster, Mariana Mignot. "Cartografia da paisagem sonora do curta-metragem De Lá pra Cá". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/77089.
Resumen
O som e a imagem constroem a narrativa no cinema. Efeitos sonoros, diálogos, música e o silêncio ‐ junto com a imagem ‐ compõem e transmitem significado à obra cinematográfica na sua totalidade. Tendo como objeto de estudo o curta‐metragem De Lá pra Cá, do cineasta Frederico Pinto, o presente trabalho cartografa os sons que compõem sua trilha sonora e verifica seu papel na narrativa fílmica a partir do conceito de Paisagem Sonora, em duas de suas dimensões, a acústica e a Psicoacústica. Objetiva‐se perceber em que medida a Paisagem Sonora influencia dramática e narrativamente na obra cinematográfica. Metodologicamente, após cartografar o som do curta‐metragem De Lá Pra Cá, identificou‐se as Paisagens Sonoras existentes no filme e seus papéis na construção narrativa. A cartografia e a análise sonora das cenas decompõem os sons do filme em seus diferentes atributos, possibilitando sua compreensão em diversos níveis. A análise e posterior interpretação da cartografia sonora de De Lá pra Cá permitiram concluir que diferentes Paisagens Sonoras o constituem, havendo uma predominância das hi‐fi sendo em alguns momentos contrapostas pelas lo‐fi. A Paisagem Sonora dá ritmo, provoca emoções, evoca sentimentos, gera tensões, tendo um importante papel narrativo.The sound and image build a narrative film. Sound effects, dialogue, music and silence ‐ along with the image ‐ compose and transmit meaning to film in its entirety. With the short film De Lá pra Cá, of the filmmaker Frederico Pinto, as object of study this work makes a map of the sounds that compose its soundtrack and verifies its role in film narrative based on the concept of Soundscape in two of its dimensions, acoustics and Psychoacoustics. The objective is to verify how the Soundscape influences the drama and narrative of the film. Methodologically, after mapping the sound of the short film De Lá pra Cá, we identified the existing Soundscapes in the film and their roles in narrative construction. The mapping and analysis decompose the sounds of the film in its different attributes, allowing its understanding on several levels. The analysis and subsequent interpretation of the mapping of sounds of the De Lá pra Cá film allowed to conclude that it’s made by different Soundscapes, with a predominance of hi‐fi,and at times opposed by the lo‐fi. The Soundscape gives rhythm, triggers emotions, evokes feelings, generates tensions, having an important narrative role.
7
Alcala, Galvan Carlos Hugo. "Response of Desert Mule Deer to Habitat Alterations in the Lower Sonoran Desert". Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1424%5F1%5Fm.pdf&type=application/pdf.
8
Lanzoni, Pablo Alberto. "Sinfonia fílmica : aproximações entre o discurso cinematográfico e o discurso musical em 'Sal de Prata'". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/60369.
Resumen
Esta pesquisa concentra-se na articulação entre o discurso cinematográfico e o discurso musical, a partir da observação de determinado corpus fílmico: „Sal de Prata‟ (2005) de Carlos Gerbase. O filme, organizado através de intertítulos narrativos, cujo conteúdo semântico o remete à estrutura de uma sinfonia, propicia a reflexão acerca das aproximações e das apropriações entre ambas as manifestações. Inicialmente, se discorre acerca da estrutura em música e da estrutura no cinema, em que se insere a montagem e suas apropriações à terminologia musical. Complementam a discussão vieses cinematográficos e alguns exemplos fílmicos, destacados por outros autores sob a ótica de suas aproximações a formas e estruturas musicais. A estas reflexões segue a apresentação do conceito de sinfonia fílmica e de sua aplicabilidade em „Sal de Prata‟. Para tanto, foram considerados as observações oriundas da música pertencente à trilha sonora; a organização de planos; o percurso dramático do corpus em discussão. Encerra o trabalho, um exame das relações entre uma sequência fílmica e a música a ela combinada. A sequência selecionada compreende a única peça musical que pode ser ouvida em sua totalidade em „Sal de Prata‟: Largo do Concerto n. 5 em Fá menor, BWV 1056, de Johann Sebastian Bach, discutido aqui sob o viés retórico-musical. Entre música e cena percebem-se aproximações e concomitâncias referentes às estruturas observadas que são discutidas no pormenor. Esta dissertação concentra-se na reflexão das utilizações multifacetadas da música, no complexo cinematográfico, visando contribuir para a constituição desta área interdisciplinar de estudos.This research focuses on the relationship between cinematographic and musical discourses taking as its object the observation of Carlos Gerbase‟s „Sal de Prata‟ (2005) as a film corpus. „Sal de Prata‟ is organized through narrative intertitles that refer to a symphonic structure through their semantic content; they elicit a reflection on the rapprochement and the appropriation between the two events. The thesis discusses the notion of structure in music and movies, including the concept of film editing as it mirrors musical terminology. The discussion is complemented by cinematic biases and film examples which are followed by the introduction of the concept of „film symphony‟ [„sinfonia fílmica‟] as well as its viability as related to „Sal de Prata‟. The soundtrack of the film is discussed, as are its plan organization, its dramatic journey, and the only piece that can be heard in its entirety in the film, the Largo from the Concerto no. 5 in F minor, BWV 1056, by Johann Sebastian Bach. This piece is analyzed under a rhetorical-musical bias and the parallel procedures in film and music are highlighted. This masters‟ thesis aims at a reflection on the multifaceted usage of music in the cinematographic complex, contributing to the construction of this interdisciplinary area of study.
9
Magalhães, Michelle Agnes. "Musica, futurismo e a trilha sonora de Dziga Vertov". [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284158.
Resumen
Orientador: Claudiney Rodrigues CarrascoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho tem como propósito a apresentação de um pequeno panorama do movimento futurista italiano e russo no que tange ao aspecto musical, bem como uma análise dos elementos futuristas encontrados na música do filme "Entusiasmo, Sinfonia do Donbass" de Dziga Vertov realizado em 1930
Abstract: The present dissertation has the purpose of presenting a resumed panorama of the Italian and Russian futurist movements focused on its musical aspects, as well an analysis of the futurist elements found in the film music of "Enthusiasm, Symphony of Donbass" produced in 1930 by Dziga Vertov
Mestrado
Mestre em Música
10
More, Noëlie. "Les deux derniers films 'Harry Potter' : marqueurs sonores et thèmes narratifs". Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/34125.
Resumen
Considérée comme une histoire pour enfants et adolescents, la saga Harry Potter, tout comme la saga Star Wars dans les années 1980, est devenue un véritable phénomène culturel et intergénérationnel. L'impact de ces livres d'abord, puis des films ensuite, se ressent toujours et ce, malgré leur conclusion en 2011. Beaucoup d'auteurs se sont principalement intéressés à la partie narrative de la saga Harry Potter en interprétant les différents sens politique, psychologique, social, etc., mais sans jamais s'attarder réellement sur la musique des films. 6Mon attention dans ce projet se portera sur la musique des deux derniers films de l'octalogie, composée par Alexandre Desplat. L'objectif de la thèse est de déterminer au moyen de diverses approches comment les thèmes narratifs principaux des deux derniers
films de la saga Harry Potter (Les Reliques de la Mort, Parties I et II) sont illustrés par des marqueurs sonores. Nous nous intéresserons à l'illustration de la magie dans la Partie I en nous basant sur la théories critique de la musique de film de Claudia Gorbman en premier lieu, avant de discuter du rôle dramatique de Lily's Theme dans la Partie II en nous basant sur des études sur l'Éternel Féminin et certaines approches en musique et image de Lori Burns. Dans une dernière partie, nous montrerons comment les marqueurs sonores du Bien, de l'héroïsme et du Mal peuvent être compris en terme d'associations culturelles dans la scène du Duel Final de la Partie II avant d'analyser comment la musique agit en tant qu'agent narratif indépendant de l'image en nous basant sur les approches de Robert Hatten (marqué/non marqué) et de Steve Larson (attentes de l'auditeur). Ces approches nous permettent de montrer comment la musique participe à la création d'un univers audiovisuel cohérent et unifié avec l'image dans les deux derniers films de Harry Potter.
11
Miotti, Giorgia <1996>. "La sordità sul grande schermo: analisi di film sonori e in lingue dei segni". Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21367.
Resumen
A eccezione del cinema muto delle origini, dove sordi e udenti erano riuniti nel silenzio e nella mancanza di parole udibili, è solo a partire dal 1986 con la proiezione di Figli di un Dio minore diretto da Haines che riaffiora un tentativo di riconciliare il mondo sordo con quello udente e di sensibilizzare al tema della sordità. La mia tesi propone quindi una disamina di film e cortometraggi diretti da registi sordi e udenti e ne mette in luce tematiche, tecniche di ripresa, espedienti comunicativi ed, eventualmente, criticità. Attraverso il mio lavoro intendo scandagliare quella parte di cinematografia che, nella narrazione, traghetta messaggi educativi volti a sensibilizzare e a diffondere la cultura sorda. Inoltre, grazie alla testimonianza del regista sordo italiano Antonio Bottari, evidenzierò quali sono le principali tecniche cinematografiche da lui adottate per realizzare opere in lingua dei segni e le confronterò poi con le soluzioni adottate invece da alcuni registi udenti. Il confronto tra differenti usi del mezzo cinematografico sottolineerà delle criticità da parte di alcuni registi udenti tra cui inquadrature non sempre efficaci per far risaltare la lingua dei segni, ingaggiamento di attori udenti per recitare il ruolo di persone sorde e di conseguenza un uso inappropriato della lingua dei segni. Infine, anche il problema dell’accessibilità è oggetto di riflessione affinché film sonori o interamente in lingua dei segni siano fruibili da un pubblico eterogeneo.
12
Spada, Thiago Gobet. "Caminhos brasileiros = na trilha musical de David Tygel". [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284976.
Resumen
Orientador: Claudiney Rodrigues CarrascoAcompanhado de 1 DVD de exemplos em áudio e vídeo
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: David Tygel é um compositor brasileiro de trilhas musicais atuante desde o início dos anos 80 até os dias de hoje. É reconhecido pelo meio cinematográfico brasileiro, com uma filmografia de cerca de 26 longas metragens, e diversos outros trabalhos, tendo sido premiado com quatro kikitos no festival de gramado. David Tygel também é reconhecido no meio educacional, sendo um dos primeiros a compartilhar sua experiência e seus conhecimentos em cursos sobre o assunto no Brasil, atualmente é o professor responsável pela disciplina de Trilhas Musicais na PUC do Rio de Janeiro. Este trabalho visa a análise de suas trilhas musicais nos longas metragens para os quais compôs no período de 1980 a 2005. São analisados aspectos tanto do ponto de vista cinematográfico e narrativo quanto musical. São comentadas suas abordagens composicionais, a estruturação formal da música com relação à estrutura narrativa do filme, o uso de leitmotivs, instrumentação, inserções diegéticas e não-diegéticas, uso de efeitos e sintetizadores, e o uso de elementos da música brasileira. O trabalho disponibiliza ao leitor, a oportunidade de assistir, ouvir e tocar a música de David Tygel, através de exemplos em vídeo, áudio e partituras, permitindo não apenas a assimilação dos procedimentos observados e citados no texto, tornando acessível este material como referência para outros estudos ligados ao cinema brasileiro e sua música
Abstract: David Tygel is a brazilian soundtrack composer, actively working since the early eighties until nowadays. He is well known in the brazilian cinematographic mainstream, with a credits list with more than 26 feature films, and many other works, have been awarded with 4 kikitos of Gramado's cinema festival. David Tygel is also known in the educational mainstream, being one of the pioneers to share his experience and knowledge through his courses about the subject in Brazil, actually being the Soundtrack professor at PUC in Rio de Janeiro. This work analises his musical scores for the feature films he worked from 1980 to 2005. It analises aspects from both cinematographic, narrative and musical points of view. It comments about aspects like his compositional approaches, music formal structure in relation with film narrative structure, the use of leitmotivs, instrumentation, diegetic and non-diegetic insertions, the use of effects and synths, and the use of brazilian music elements. This work brings to the reader the opportunity to watch, listen, and play the music of David Tygel through examples in video, audio and musical scores, allowing not only the learning of the procedures observed and quoted in the text, but also that the reader himself could make his conclusions and making this material acessible as reference for other studies on brazilian cinema and its music
Dissertação (mestrrado) - Univ
Mestre em Música
13
Opolski, Debora Regina. "Análise do design sonoro no longa-metragem Ensaio sobre a cegueira". reponame:Repositório Institucional da UFPR, 2009. http://hdl.handle.net/1884/19870.
14
Stanley, Gary Edward. "Man, water and the Arizona/Sonora border: The current situation and the growing need for management". Thesis, The University of Arizona, 1988. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu_etd_hy0030_m_sip1_w.pdf&type=application/pdf.
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Keita, Eloi Bandia. "Modèles physiques et perception, contributions à l'analyse du milieu sonore urbain". Thesis, Brest, 2015. http://www.theses.fr/2015BRES0029/document.
Resumen
L’intégration du monde physique et des systèmes d’information est l’un des faits majeurs de la récente décennie. Cette intégration est rendue possible par les systèmes de communication, en particulier les systèmes sans fil, et par les recherches à l’interface physique dans le domaine des capteurs.L’usage de cette interface peut se concevoir de manière locale, par exemple le contrôle d’un objet, ou une aide dirigée vers une personne. Cette interface peut aussi exister au niveau distribué, en permettant la synthèse d’informations éparses et des prises de décisions concernant par exemple des économies de ressources : éteindre l’éclairage d’une rue, guider vers une place de parking libre.Les réseaux de capteurs sans fil contribuent à cette seconde catégorie et cette thèse s’est consacrée à la simulation de la propagation d’informations sonores en milieu urbain, avec une caractérisation distribuée.Le support décisif pour cette simulation est la représentation cellulaire de la ville et de ses zones : rues, jardins, rocades, bâtiments, rivières. Cette représentation cellulaire est produite par l’analyse d’imagesgéo-localisées et peut être complétée par la consultation de bases de données, pour l’élévation, par exemple. La représentation cellulaire est ensuite transformée en systèmes de processus interconnectés, à même de reproduire quantité de comportements collectifs, physiques ou numériquesPhysical world and information systems unification is a major achievement during this last decade. Communication systems, especially wireless technology, and research in physical sensors field have taken a major part in this integration.The interface between the physical word and a computer can be used in two ways. First, from a local perspective, where such a system can control for instance a single object or provide a personal assistance.Moreover, in a distributed system, this interface collects and analyses sparse data to make decisions, for instance about resource savings: to turn off streetlights, to guide to a parking spot.Wireless sensor networks are part of this second category. Thus, this thesis is focused on sound propagation simulation in urban environment, in a distributed manner.The key point of this work is a cellular representation of the city in order to model streets, gardens, ring roads, buildings, and rivers. Georeferenced image analysis, complemented by database consultation, for example to retrieve elevation data, generates this cellular model. Then, this model is converted into a system made of interconnected processes, that can reproduce many collective behaviors, whether physical or digital.We have developed a cellular automata that models sound propagation, including reflection and refraction, working on a graphics accelerator. Finally, we have produced a coupling method between observation systems by sensor networks and physical systems
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Vasconcelos, André Luiz Olzon. "Ouvir o cinema contemporâneo: particularidades sonoras no filme-ensaio". Universidade Presbiteriana Mackenzie, 2017. http://tede.mackenzie.br/jspui/handle/tede/3379.
Resumen
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Universidade Presbiteriana Mackenzie
This thesis discusses and analyzes particularities and sound nuances present in essay films, demonstrating the aesthetic uniqueness of this type of contemporary audiovisual production. It is noticed that the debate about the essay-film has deepened in the questions related to the image, thus, the work sought to organize the international and national bibliography on the subject, evidencing the absence of approaches in the sonic field and bringing a questioning that dialogues and contributes to the discussions about sound in the cinema. It is an interdisciplinary work that involves sound language in the audiovisual field and the technologies that produce it.
Essa tese discute e analisa particularidades e nuances sonoras presentes em filmes-ensaio, demonstrando a singularidade estética desse tipo de produção audiovisual contemporânea. Percebe-se que o debate sobre o filme-ensaio tem se aprofundado nas questões referentes à imagem, assim, o trabalho buscou organizar a bibliografia internacional e nacional a respeito do assunto, evidenciando a ausência de abordagens no campo sônico e trazendo um questionamento que dialoga e contribui com as discussões sobre o som no cinema. Trata-se de um trabalho interdisciplinar que envolve a linguagem sonora no âmbito audiovisual e as tecnologias que a produzem.
17
Valencia, Victor A. "EVOLUTION OF LA CARIDAD PORPHYRY COPPER DEPOSIT, SONORA AND GEOCHRONOLOGY OF PORPHYRY COPPER DEPOSITS IN NORTHWEST MEXICO". Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1085%5F1%5Fm.pdf&type=application/pdf.
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Viñas, Alcoz Albert. "Celuloide inaudito: prácticas sonoras en el cine estructural (1960-1981)". Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/352713.
Resumen
Esta tesis estudia el sonido del cine estructural analizando sus fundamentaciones teóricas, sus tratamientos prácticos y sus apreciaciones estéticas. Se parte de una serie de películas estructurales internacionales englobadas bajo cuatro conceptos acústicos para discutir las dinámicas de sus sonidos. La investigación se centra en la noción de ruido, la utilización de la voz, las técnicas de repetición y el concepto de paisaje sonoro, para examinar doce filmes que desnaturalizan el sonido enfatizando su materialidad. El estudio confirma la experimentación acústica del cine estructural como uno de los recursos esenciales para interrogar las limitaciones tecnológicas del medio.This thesis studies the structural film sound analyzing their theoretical foundations, its practical treatments and aesthetic appreciation. A series of international structural films included under four acoustic concepts are located in order to discuss the dynamics of their sounds. The research focuses on the notion of noise, the use of the voice, the techniques of repetition and the concept of soundscape, to examine twelve films which distort the sound emphasizing its materiality. The study confirms the acoustic experiments os structural film as an essential resource to question the technological limitations of the medium.
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Sridi, Nawres. "Etude de membranes ultra-fines pour intégration de transducteurs acoustiques ultra-sonores". Phd thesis, Université de Grenoble, 2013. http://tel.archives-ouvertes.fr/tel-00954586.
Resumen
Les travaux de cette thèse se situent dans un contexte de miniaturisation des transducteurs ultrasonores micro-usinés (cMUTs). Ce type de dispositifs est utilisé depuis plusieurs décades dans le domaine de l'imagerie par échographie allant du contrôle non-destructif de structures jusqu'au domaine médical. La quête d'une imagerie hautement résolue nécessite l'utilisation de cMUTs de fréquence de résonance de l'ordre du GHz et de taille micrométrique. L'élément actif de ces cMUts est une membrane suspendue de surface micrométrique. Une étude analytique, basée sur le comportement mécanique des plaques minces, a permis de dimensionner les membranes suspendues et de souligner l'importance d'avoir une épaisseur nanométrique pour avoir un signal émis détectable électriquement. Plusieurs matériaux; à savoir des nanotubes de carbone, du graphène, du graphène oxydé, du DLC (diamond like carbon) et du silicium, ont été mis en œuvre dans la cadre de cette étude pour réaliser des membranes suspendues de taille micrométrique et d'épaisseur nanométrique. Des procédés technologiques propres à chacun de ces matériaux ont été conçus et des membranes d'épaisseurs variant de 2 à 15 nm et de largeurs variant de 1 à 2 µm ont été fabriquées. Une méthode de caractérisation innovante a été mise en place afin d'évaluer les propriétés mécaniques des différentes membranes réalisées. Un protocole de mesure a été développé pour mesurer l'amplitude de déplacement des membranes suspendues sous l'action d'une force électrostatique. Des amplitudes qui atteignent la dizaine de nanomètres ont été mesurées, amplitudes qui correspondent à des variations de capacités électriquement détectables. Plus généralement, ces travaux constituent une preuve solide de la faisabilité des nano-membranes suspendues de taille micrométrique avec un déplacement détectable.
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Ku, Cheng-Ping. "Le silence dans le cinema parlant". Paris 12, 2001. http://www.theses.fr/2001PA120018.
Resumen
Le silence cree de riches analogies et revele des differences entre les arts, theatre, roman, poesie, musique, peinture, etc. , notamment aux temps modernes. Il existe une stratification du silence dans l'espace artistique (donnees, dispositif spatial ou temporel, concept). Ce phenomene du silence existe aussi dans le cinema ; il s'avere etre meme plus complexe, vu qu'il s'agit d'un art impur a l'etat pur (andre bazin), impliquant les six autres arts pour en faire un. Son mode d'existence mixte entraine d'ailleurs une diversification du silence en fonction de ses rapports avec deux composants constitutifs cinematographiques, l'image et le son, et aussi des plans et des dimensions ou il est place. Il y a donc des silences de differents aspects et ordres : les silences par rapport a l'image et au son sur le plan de l'expression, par rapport a la parole et au langage sur le plan du contenu, ainsi que dans la dimension sensible, dans la dimension intelligible. . . Le silence essentiel du cinema se situe dans une dimension d'au-dela des elements visuels et sonores, enchaines comme signes texualisables (cinema-langage), ou desenchaines comme perpetuels signifiants engendres par des idees diverses et fuyantes (cinema-ontologie). Il s'agit donc d'une dimension indicible apres l'epuisement des mots ou a defaut de mots. La these s'appuie sur les theories du cinema, de la linguistique, de la psychanalyse et des textes philosophiques de deleuze, de merleau-ponty, etc. , illustres par les analyses de gertrud de dreyer, du silence de bergman, d'un condamne a mort s'est echappe de bresson, de hiroshima, mon amour de resnais, de la nostalgie de tarkovski, de la nouvelle vague de godard, des trois couleurs, bleu de kieslowski, du songe de la lumiere de victor erice. . . Le sujet est en rapport etroit avec des problemes des materiaux de nature sensorielle, de la representation, des procedes expressifs cinematographiques. . .
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Marshal, Jason Paul. "Interactions of mule deer, vegetation, and water in the Sonoran Desert". Diss., The University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu_e9791_2005_031_sip1_w.pdf&type=application/pdf.
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Unland, Helene Emmi Karin. "Surface flux measurement and modeling at a semi-arid Sonoran Desert site". Thesis, The University of Arizona, 1996. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu_etd_hy0257_sip1_w.pdf&type=application/pdf.
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Alvarez, Mariano Gabriel Martins. "A estereofonia digital: uma abordagem sobre a técnica, o padrão e a linguagem sonora cinematográfica norte-americana no período de 1991 a 2001". Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/27/27153/tde-23072009-162042/.
Resumen
O objeto desta pesquisa é o uso do espaço sonoro através da tecnologia estereofônica digital dos filmes norte americanos produzidos no período de 1991 a 2001. Esta pesquisa tem como objetivo a analise do uso da linguagem sonora cinematográfica no novo contexto do áudio estereofônico digital, tecnologia que tem como meta o envolvimento sonoro do receptor em 360. Como resultado teremos um histórico da evolução tecnológica dos sistema de reprodução sonoro nos cinemas norte americanos, a presença (ou não) de normas de uso do espaço sonoro no cinema norte americano no período de 1991 a 2001 e finalmente a constatação da existência (ou não) de novas formas de uso da estereofonia digital abertas por essa tecnologia. Espaço sonoro cinematográfico estereofônico digital.The object of this research is the use of the sound space through digital stereophonic technology of north American films produced during the period of 1991 to 2001. The objective of this research is to analyze the use of the cinematographic sound language in the new context of the digital stereophonic audio technology that seeks to surround the spectator in 360°. As a result we will have the history of the sound technological evolution of the north American cinematographic reproduction system, the presence (or not) of norms of use of the sound space in the north American movies during the period from 1991 to 2001, and finally the verification of the existence or not of new ways to use digital stereophony opened with this new technology. Digital stereophonic cinematographic sound space.
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Gehlen, Luiz Henrique. "A presença sonora no constructo cinematográfico: análise dos sons acusmáticos no filme A Mulher sem piano". Universidade do Vale do Rio dos Sinos, 2017. http://www.repositorio.jesuita.org.br/handle/UNISINOS/6037.
Resumen
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Luiz Henrique Gehlen_.pdf: 1373955 bytes, checksum: d2ae70201efa0171b1e893a7e77e5b4b (MD5)Made available in DSpace on 2017-02-10T12:49:22Z (GMT). No. of bitstreams: 1 Luiz Henrique Gehlen_.pdf: 1373955 bytes, checksum: d2ae70201efa0171b1e893a7e77e5b4b (MD5) Previous issue date: 2017-01-10
CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
A presente dissertação está inserida na linha de pesquisa Mídias e Processos Audiovisuais e tem como objetivo geral discutir a presença sonora a partir do uso de sons acusmáticos no cinema. Nossa argumentação é erigida em consonância com a necessidade de problematizar o som como um elemento expressivo na experiência sensorial do universo das imagens cinematográficas, tendo como horizonte a contribuição estética que as sonoridades técnicas ofertam ao cinema moderno. Para tanto, a fundamentação teórica é construída principalmente com base nos conceitos propostos por Gilles Deleuze, Walter Benjamin, Hans Ulrich Gumbrecht, Didi-Huberman e Michel Chion. No sentido de alcançar nossos objetivos, utiliza-se uma metodologia própria construída qualitativamente com ênfase nos métodos: Intuitivo, scanning, cartografia e na desconexão inspirada em Michel Chion, pelos quais tratamos de autenticar as atualizações da presença sonora – a dimensão da escuta e a presença sonora como potência de atualização dos corpos - na obra A Mulher Sem Piano (2009), filme dirigido por Javier Rebollo que representa a estética emergente do “novo cinema espanhol”.
The present thesis is inserted in the Media and Audiovisual Processes research line, and its general objective is to discuss the sonorous presence, by using of acousmatic sounds in cinema. Our argument is built in consonance with the need to problematize sound as an expressive element in the sensory experience of the cinematographic images universe, taking in consideration the aesthetic contribution that technical sonorities offer to modern cinema. For this, the theoretical foundation is built mainly on the concepts proposed by Gilles Deleuze, Walter Benjamin, Hans Ulrich Gumbrecht, Didi-Huberman and Michel Chion. In order to achieve our objectives, it is used a qualitative methodology built with emphasis on the methods: Intuitive, scanning, cartography and the disconnection inspired by Michel Chion, for which we try to authenticate the updates of the sonorous presence - the dimension of listening and the sonorous presence as a updating potency of the bodies - in the movie The Woman Without a Piano (2009), directed by Javier Rebollo, that represents the emergent aesthetics of the "new spanish cinema".
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Benhammou, Mohammed. "Mesure de l'intensité acoustique dans un conduit cylindrique en présence d'un écoulement". Compiègne, 1991. http://www.theses.fr/1991COMPD346.
Resumen
Le but de cette étude est de mettre au point une technique nouvelle de mesure de l'intensité acoustique en présence d'un écoulement uniforme, qui soit valable pour des configurations aéroacoustiques complexes. Cette nouvelle méthode s'appuie sur la mesure directe, d'une part, de la pression acoustique instantanée par un microphone et, d'autre part, du vecteur vitesse acoustique instantanée par un fil (ou film) chaud. Afin de maîtriser les champs aérodynamiques nous avons décomposé le travail en deux étapes de complexité croissante. 1) Onde plane en présence d'un écoulement uniforme. Nous montrons que l'utilisation du fil chaud pour la mesure de la vitesse acoustique conduit à des résultats comparables à ceux obtenus par une méthode plus classique fondée sur l'utilisation de deux microphones. 2) Onde oblique en présence d'un écoulement uniforme. L'extension de la méthode à des champs acoustiques distribués sur des modes d'ordre supérieur pour une fréquence discrète est effectuée avec une sonde à films chauds croisés. La validation des mesures est fondée sur la comparaison des distributions, dans une section droite, des vitesses et intensité acoustiques déterminées expérimentalement, aux distributions de ces vecteurs obtenues par simulation numérique. Malgré certaines difficultés liées aux conditions expérimentales extrêmement difficiles, nous avons pu vérifier les propriétés des modes étudiés et les phénomènes liés aux conditions aux limites. Ce travail apporte ainsi une solution fiable à un problème aujourd'hui non résolu.
26
Thomas, François. "La Composition sonore dans le cinéma d'Orson Welles : et ses rapports avec son oeuvre radiophonique et théâtrale". Paris 3, 1997. http://www.theses.fr/1997PA030076.
Resumen
Au moyen de l'analyse de la composition sonore dans le cinema d'orson welles, cette these a pour but de montrer comment, alors que les analyses du son cinematographique rapportent dans leur tres grande majorite le son a l'image, une bande sonore vivante est un organisme dont les elements s'interpenetrent, et qu'il est indispensable d'etudier aussi pour lui-meme. Unissant organiquement les composantes apparemment disparates de la bande sonore - la voix, la musique et le bruit -, les films de welles invitent a concevoir celle-ci comme un tout coherent, construit, structure, les sons, loin de rester etrangers les uns aux autres, se relaient, se heurtent et se chevauchent sans cesse, aussi bien a l'interieur des sequences que lors des transitions entre sequences. Cette these a aussi pour sujet second la question de l'influence exercee par l'experience de welles en tant que metteur en scene de theatre et de radio. Alors que l'invention et la singularite de ses bandes sonores ont longtemps ete interpretees sans nuances comme une simple consequence de ses legendaires activites radiophoniques, l'influence theatrale est au moins aussi pregnante.
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Correia, Luiz Filipe da Silva. "Ok Computer e a trilha sonora do fim do milênio: tecnologia sociedade e cultura (1990-1999)". Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-29102012-105309/.
Resumen
Esta pesquisa tem como objeto o álbum Ok Computer, lançado em 1997 pelo grupo britânico Radiohead. Nesta dissertação, que compreende o período de 1990-1999, o disco é usado como uma \"trilha sonora\" que acompanha o imaginário cultural e social às vésperas da chegada do novo milênio. Nesse sentido, situamos a produção artística do grupo no contexto das ideias neoliberais, do processo conhecido como globalização e da rápida difusão da internet e do computador pessoal no cotidiano. Transformações que implicaram uma radical transformação não só dos sistemas cognitivos, como dos meios de comunicação e das formas de representação de significados. Com isso pretende-se analisar como o conjunto de experiências compartilhadas, faz com que a subjetividade seja cada vez mais modulada pelo imaginário do progresso tecnológico e material, embora também ofereça opções de táticas e resistência nas vozes que criticam esses modos de vida.This study has as its object the OK Computer album, released in 1997 by the British group Radiohead. This dissertation covers the period from 1990-1999, the disk is used as a \"soundtrack\" that accompanies the cultural and social imaginary on the eve of the arrival of the new millennium. Accordingly, we place the artistic production of the group in the context of neoliberal ideas, in the process known as globalization and the rapid spread of the Internet and personal computer in everyday life. Changes that resulted in a radical transformation not only of cognitive systems, but of the media and forms of representation of meaning. With this we intend to analyze how the set of shared experiences, makes the subjectivity increasingly modulated by the imagery of technological progress and material, although also offering options for tactics and resistance in the voices that criticize these ways of life.
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Barbosa, Ana Luiza Pereira. "A relação som-imagem nos filmes de animação norte-americanos no final da década de 1920: do silencioso ao sonoro". Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27153/tde-17032010-175658/.
Resumen
Esta dissertação tem por objetivo estudar a relação som-imagem nos filmes de animação norte-americanos realizados no período final do cinema silencioso e no início do cinema sonoro. Foram feitos levantamentos históricos sobre o processo de produção do cinema de animação e sobre o processo de criação de suas trilhas sonoras antes e após o advento do som sincrônico. A partir desses levantamentos e da análise de curtas-metragens do final da década de 1920, identificou-se características próprias do cinema de animação tanto em relação ao uso de soluções visuais para sugestões sonoras nos filmes silenciosos quanto à criação de uma relação única entre som e imagem nos filmes sonoros, especialmente nos filmes produzidos por Walt Disney.The present work aims at studying the sound-image relationship in North American animated films made at the end of the silent era and in the beginning of the sound film era. Historical surveys have been developed about the production process of animated films and about the creative process of their soundtrack before and after the advent of synchronized sound. From these surveys and analysis of short films made at the end of the 1920s, specific traits of animated film have been identified in regard to visual solutions for sound suggestion in silent cartoons as well as the creation of a unique relationship between image and sound in the sound films, especially in Walt Disney\'s films.
29
Chritaro, Gustavo Rocha 1978. "A Streetmusic Named Desire : Jazz e Cinema no exemplo de Alex North". [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285320.
Resumen
Orientador: Claudiney Rodrigues CarrascoAcompanha 1 DVD-R DL Recordable
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O presente trabalho examina a transformação do agenciamento do jazz pela música de cinema na produção cinematográfica da década de 1950, a partir da trilha musical que Alex North compôs para o filme Um Bonde Chamado Desejo. A metodologia consistiu na reconstrução crítica do contexto histórico, no ajuste conceitual das interpretações possíveis para o jazz, e num conjunto de técnicas de análise musical. A diversidade de técnicas de análise se justifica pela sobreposição entre as técnicas de composição que constituem a poética de North, e esta irredutível complexidade é justamente um dos fatores que dá causa à existência deste trabalho. North é apontado por unanimidade como o compositor que inaugurou uma forma ampla de agenciamento para o jazz, e procuramos aprofundar o conhecimento que se tem acerca da contribuição dele
Abstract: This paper examines the transformation of jazz employment by film music composers in the cinematographic production of the 1950s, taking as reference the soundtrack that Alex North composed for the film A Streetcar Named Desire. The methodology consisted in critical reconstruction of the historical context, conceptual adjustment of the possible interpretations of jazz, and a set of techniques of musical analysis. The diversity of analytical techniques is justified by the overlap between the composition techniques that constitute North's poetic , and that irreducible complexity is an important factor giving rise to the existence of this work. North is appointed unanimously as the composer who ushered in a broadly usage of jazz, and here we seek to deepen the knowledge about his contribution
Doutorado
Fundamentos Teoricos
Doutor em Música
30
Vasconcelos, Andre Luiz Olzon. "A influencia da trilha sonora sobre a perceção da obra cinematografica = a analise filmica de Bye bye Brasil, Pra frente Brasil e Central do Brasil". [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285096.
Resumen
Orientador: Claudiney Rodrigues CarrascoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Parte indissociável da composição audiovisual, a trilha sonora estabelece um diálogo com o mundo imagético proporcionando ao filme maior desenvolvimento na elaboração e desenvolvimento da sua linguagem. O objetivo desta dissertação é analisar minuciosamente os elementos sonoros ocorridos nos filmes Bye bye Brasil (1979) do diretor Carlos Diegues, Pra frente Brasil (1982) de Roberto Farias e Central do Brasil (1998) de Walter Salles e de que maneira eles atuam na construção do sentido destas obras. No recorte proposto foram escolhidos filmes significativamente representativos em suas respectivas décadas. Por meio da análise, também foi possível diferenciar as mudanças tecnológicas e estéticas em relação ao som do cinema brasileiro ocorridas durante este período. Além de revisar importantes acontecimentos na história do país sob a óptica do cinema, este trabalho também contribui para a discussão das questões referentes ao som e a música no cinema brasileiro, ampliando a bibliografia do assunto.
Abstract: Integrating piece of the audiovisual composition, the soundtrack establishes a dialog with the visual world, providing a better elaborated movie and facilitating the development of its language. The objective of this thesis is to perform a deep and thorough analysis of the sound elements of the Brazilian movies "Bye Bye Brasil" (1979) from Carlos Diegues, "Pra Frente Brasil" (1982) from Roberto Farias and "Central do Brasil" (1998) from Walter Salles. The subject movies were chosen due to their leading exposure and relevance in their respective decades. The time component of this work also allowed the discussion and assessment of the technologic and esthetic evolutions of the sound within the Brazilian cinema along the last decades. On top of revisiting some of the important facts of the history of Brazil from the perspective of the cinema, this work also contributes to the discussions around the sound and the music in the Brazilian cinema, expanding the bibliography on the subject.
Mestrado
Mestre em Música
31
Robles-Guzmán, Vanessa-Cecilia. "El exorcista: un estudio de su tratamiento sonoro y de su influencia en el cine de terror contemporáneo". Bachelor's thesis, Universidad de Lima, 2016. http://repositorio.ulima.edu.pe/handle/ulima/3594.
Resumen
El Exorcista, una película del género de terror dirigida por William
Friedkin en 1973, no solo es un clásico del género; también es un referente para el cine de horror realizado después. Ello se debe a su tratamiento de asuntos que resultaban inéditos para el género, como la sexualidad infantil, y a las características de la representación del proceso de transformación física de una niña poseída, así como al
diseño de su banda sonora y de todos sus componentes: la palabra, los ruidos o efectos sonoros, las atmósferas creadas con ellos, la música y el silencio. Todos ellos se orientan a la creación de un clima de horror visceral, donde el miedo provocado por el género convive con el disgusto, el asco y la repulsión causados por los elementos de la representación fílmica. Este artículo describe e interpreta la singularidad de ese tratamiento sonoro de El Exorcista, apuntando aquello que ha resultado influyente en el curso de la historia del género de terror.The Exorcist, a film of horror genre directed by William Friedkin in 1973, is not only a classic of the genre; it is also a reference to horror films made later. This is due to its treatment of issues that were unprecedented for the genre, such as infantile sexuality, and the characteristics of the representation of the process of physical transformation of a possessed girl, and the design of the soundtrack and all its components: voice, sound effects, atmospheres created with them, music and silence. They are aimed at creating a climate of visceral horror, where fear caused by gender coexists with disgust, repugnance and repulsion caused by the elements of filmic representation. This article describes and interprets the uniqueness of the sound treatment of The Exorcist, pointing what has been influential in the course of the history of the horror genre.
Trabajo de investigación
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SILLANO, CARLOTTA. "Il suono per raccontare il luogo: un atlante sonoro delle Alpi Occidentali". Doctoral thesis, Università degli studi di Genova, 2020. http://hdl.handle.net/11567/1009804.
Resumen
La ricerca indaga il suono come strumento utile alla conoscenza e alla narrazione di un luogo geografico. Si colloca pertanto nell’ambito degli studi sul paesaggio sonoro, concetto teorizzato negli anni Settanta da Raymond Murray Schafer e definito come “l’ambiente dei suoni”. La ricerca è di tipo multidisciplinare e interroga il concetto di soundscape nella sua relazione con la geografia umana, con la semiotica e con la comunicazione territoriale.
Il campo di indagine corrisponde qui al territorio delle Alpi Occidentali; la ricerca affronta quattro studi di caso distribuiti in tale area, nelle tre diverse nazioni che vi afferiscono. L’obiettivo teorico è di pervenire alla definizione di strumenti e metodi utili alla costruzione di narrazioni multimediali basate sul paradigma acustico e capaci di cogliere e trasferire il senso del luogo attraverso il suono. Il risultato tangibile è un atlante sonoro delle Alpi Occidentali, un dispositivo interattivo utile all’esplorazione di geografie invisibili.The present thesis investigates sound as a useful tool for the exploration and communication of geographical places. It inspects the concept of soundscape - theorized in the 1970s by Raymond Murray Schafer and defined as "the sonic environment” - in its relationship with human geography, semiotics and multimedia storytelling. The experimentation is related to Western Alps and addresses four case studies distributed in this area. The aim of the research is to define tools and strategies for a geographical sound-based multimedia storytelling. The tangible result is a sound atlas of Western Alps: an interactive map that explores invisible geographies.
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Castrezana, Sergio Javier. "Patterns of Differentiation Among Allopatric Drosophila mettleri Populations". Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1313%5F1%5Fm.pdf&type=application/pdf.
34
Bobée, Emmanuelle. "La musique et les textures sonores comme éléments du récit filmique dans l'œuvre de David Lynch, d'Eraserhead (1977) à Inland Empire (2006)". Rouen, 2015. http://www.theses.fr/2015ROUEL027.
Resumen
Cette étude vise à explorer l'univers et l'esthétique du réalisateur américain David Lynch (1946-. . . ) à travers la dimension musicale et sonore, en s'appuyant sur un vaste corpus constitué des dix longs métrages qu'il a réalisés entre 1977 et 2006. Depuis Eraserhead, véritable matrice sonore de l'oeuvre à venir, le cinéaste a toujours accordé une place prépondérante à la musique et au sound design, n'ayant de cesse de parvenir à une réelle osmose entre les composantes visuelle et sonore du récit filmique. Fortement impliqué dans la création sonore, l'élaboration des musiques originales et le choix des musiques préexistantes, il a également su nouer des collaborations fructueuses et récurrentes, notamment avec l'ingénieur du son Alan Splet et le compositeur Angelo Badalamenti, ainsi que des partenariats occasionnels avec divers artistes contemporains. Au fil des années, Lynch a développé une approche singulière, à la fois foncièrement auteuriste et ouverte aux interventions extérieures, au hasard et à l'imprévu, qui s'accompagne de méthodes de travail originales fondées sur l'expérimentation, l'intuition et le « processus d'action-réaction ». Son cinéma utilise toutes les potentialités du registre de l'audible et de la combinaison audiovisuelle pour interagir avec le spectateur, suscitant tantôt l'adhésion au monde fictionnel — notamment par des mécanismes de subjectivisation —, tantôt la désorientation et la distanciation par une mise en évidence de la représentation filmique. Ce constant déploiement de forces contraires contribue à nourrir le sentiment d'inquiétante étrangeté qui émane des récits lynchéens, renforcé ou induit par certains procédés tels que l'utilisation de chansons préexistantes puisées dans le répertoire pop des années 1960, le recours au play-back et l'intégration de scènes chantées ou chorégraphiées, ou encore la mise en place de stratégies musico-narratives inspirées par les mécanismes du rêve ou par le principe de répétition du mêmeThis study aims to explore the universe and aesthetics of American director David Lynch (1946 -. . . ), focusing upon the musical and sonic aspects; it leans on a large corpus composed of the ten feature-films that he directed between 1977 and 2006. Since Eraserhead, which appears as a sonic matrix of Lynch's future works, music and sound design have been given a prominent place by the cineaste, in order to create a true osmosis between the visual and sonic components of the filmic narrative. Deeply involved in sound creation, as much as in the elaboration of original soundtracks and the choice of pre-existing music, he has also developed fruitful and recurrent collaborations, in particular with the sound engineer Alan Splet and the composer Angelo Badalamenti, along with occasional partnerships with various contemporary artists. Over the years, Lynch has developed a singular approach, at once fundamentally authorial and open to external interventions, chance and unforeseen; he has also set up original working methods based on experimentation, intuition, and the « process of action-reaction ». All the potentialities of the audible register and of the audio-visual combination are used to interact with the spectator, arousing either the adhesion to the fictional world —especially by mechanisms of subjectivisation —, or the disorientation and detachment by a highlighting of the filmic representation. This constant deployment of opposite forces contributes to feed the feeling of uncanniness which emanates from Lynchean narratives, reinforced or induced by some techniques such as the use of pre-existing pop songs of the 60s, the resort to lip-synch and the integration of sung or choreographed scenes, or the implementation of musico-narrative strategies inspired by dream mechanisms or by the repetition principle
35
Schlaphof, Frank. "Kraftmikroskopische Untersuchungen dünner ferroelektrischer Filme". Doctoral thesis, Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2005. http://nbn-resolving.de/urn:nbn:de:swb:14-1112181895822-13195.
Resumen
This thesis reports the inspection and manipulation of thin ferroelectric films of lead titanate (PbTiO3 : PTO), lead zirconium titanate (Pb(Zr0.25Ti0.75)O3 : PZT), and barium titanate (BaTiO3 : BTO) by means of scanning force microscopy - specifically Piezoresponse and Kelvin-Probe. The film thickness of the investigated samples ranged between 50nm and 800nm. This experimental work focussed on the following issues: native domain structures, creation of domains by short voltage pulses and area-switching with the force microscope, local qualitative and quantitative measurements of the ferroelectric hysteresis loops, and investigations at the interface between film and platinum-electrode in the PZT/Pt-System. Lamellar domain structures were visualized with high lateral resolution of 5nm on the surface of the PTO-samples, whereas the PZT- and BTO-samples showed prepolarisation and no domains. In the switching experiments a pronounced thickness dependence was found and partly a good agreement to macroscopic measurements. For BTO-films of 50nm and 125nm thickness no stable switching of polarisation could be observed. Using appropriate preparation methods it was possible to provide evidence of a 200nm thick interface layer with reduced polarisation above the electrode in the PZT/Pt-systemGegenstand dieser Arbeit ist die Untersuchung dünner ferroelektrischer Schichten von Bleititanat (PbTiO3 : PTO), Bleizirkoniumtitanat (Pb(Zr0.25Ti0.75)O3 : PZT) und Bariumtitanat (BaTiO3 : BTO) und deren Manipulation auf der sub-µm-Skalamittels Rasterkraftmikroskopie. Die Dicke der Schichten lag im Bereich von 50nm bis 800nm. Zum Einsatz kamen die Meßmodi Piezoresponse und Kelvin-Sonde. Die experimentelle Arbeit erstreckte sich über die Abbildung von Domänenstrukturen, die Erzeugung von Domänen durch kurze Spannungspulse und flächiges Umschalten mit dem Kraftmikroskop, lokale qualitative und quantitative Messungen der ferroelektrischen Hysterese, sowie Untersuchungen an der Grenzschicht zwischen Film und Platin-Elektrode am PZT/Pt-System. Lamellenartige Domänenstrukturen konnten mit hoher lateraler Auflösung von 5nm auf der Oberfläche von PTO abgebildet werden. Die PZT- und BTO-Proben waren vorpolarisiert und es ließen sich keine Domänen nachweisen. Bei den Schaltversuchen wurde eine ausgeprägte Schichtdickenabhängigkeit der Koerzitivfeldstärken und teilweise gute Übereinstimmung mit makroskopischen Messungen gefunden. Für dünne BTO-Schichten von 50nm und 125nm Dicke konnte kein stabiles Umschalten der Polarisation gezeigt werden. Mittels geeigneter Präparation der PZT/Pt-Grenzschicht konnte durch direkte Messung eine Schicht von 200nm Dicke mit verminderter Polarisation oberhalb der Elektrode nachgewiesen werden
36
Schlaphof, Frank. "Kraftmikroskopische Untersuchungen dünner ferroelektrischer Filme". Doctoral thesis, Technische Universität Dresden, 2004. https://tud.qucosa.de/id/qucosa%3A24474.
Resumen
This thesis reports the inspection and manipulation of thin ferroelectric films of lead titanate (PbTiO3 : PTO), lead zirconium titanate (Pb(Zr0.25Ti0.75)O3 : PZT), and barium titanate (BaTiO3 : BTO) by means of scanning force microscopy - specifically Piezoresponse and Kelvin-Probe. The film thickness of the investigated samples ranged between 50nm and 800nm. This experimental work focussed on the following issues: native domain structures, creation of domains by short voltage pulses and area-switching with the force microscope, local qualitative and quantitative measurements of the ferroelectric hysteresis loops, and investigations at the interface between film and platinum-electrode in the PZT/Pt-System. Lamellar domain structures were visualized with high lateral resolution of 5nm on the surface of the PTO-samples, whereas the PZT- and BTO-samples showed prepolarisation and no domains. In the switching experiments a pronounced thickness dependence was found and partly a good agreement to macroscopic measurements. For BTO-films of 50nm and 125nm thickness no stable switching of polarisation could be observed. Using appropriate preparation methods it was possible to provide evidence of a 200nm thick interface layer with reduced polarisation above the electrode in the PZT/Pt-system.Gegenstand dieser Arbeit ist die Untersuchung dünner ferroelektrischer Schichten von Bleititanat (PbTiO3 : PTO), Bleizirkoniumtitanat (Pb(Zr0.25Ti0.75)O3 : PZT) und Bariumtitanat (BaTiO3 : BTO) und deren Manipulation auf der sub-µm-Skalamittels Rasterkraftmikroskopie. Die Dicke der Schichten lag im Bereich von 50nm bis 800nm. Zum Einsatz kamen die Meßmodi Piezoresponse und Kelvin-Sonde. Die experimentelle Arbeit erstreckte sich über die Abbildung von Domänenstrukturen, die Erzeugung von Domänen durch kurze Spannungspulse und flächiges Umschalten mit dem Kraftmikroskop, lokale qualitative und quantitative Messungen der ferroelektrischen Hysterese, sowie Untersuchungen an der Grenzschicht zwischen Film und Platin-Elektrode am PZT/Pt-System. Lamellenartige Domänenstrukturen konnten mit hoher lateraler Auflösung von 5nm auf der Oberfläche von PTO abgebildet werden. Die PZT- und BTO-Proben waren vorpolarisiert und es ließen sich keine Domänen nachweisen. Bei den Schaltversuchen wurde eine ausgeprägte Schichtdickenabhängigkeit der Koerzitivfeldstärken und teilweise gute Übereinstimmung mit makroskopischen Messungen gefunden. Für dünne BTO-Schichten von 50nm und 125nm Dicke konnte kein stabiles Umschalten der Polarisation gezeigt werden. Mittels geeigneter Präparation der PZT/Pt-Grenzschicht konnte durch direkte Messung eine Schicht von 200nm Dicke mit verminderter Polarisation oberhalb der Elektrode nachgewiesen werden.
37
Jorge, Anita. "« Blended together in one great symphony » : documentaires officiels britanniques de la Seconde Guerre mondiale et paysage sonore de la nation". Thesis, Université de Lorraine, 2020. http://docnum.univ-lorraine.fr/ulprive/DDOC_T_2020_0073_JORGE.pdf.
Resumen
Cette thèse porte sur le traitement du paysage sonore de la Grande-Bretagne de la Seconde Guerre mondiale dans la propagande britannique de la période. Plus précisément, nous nous intéressons à la façon dont le Ministère de l’Information chercha, pendant toute la durée du conflit, à contrôler l’environnement sonore de la Grande-Bretagne en guerre. Ce contrôle se traduisit, d’une part, par une tentative de neutralisation des sons de la guerre que le gouvernement, avec l’appui de la communauté scientifique, considérait comme délétères pour la santé physique et mentale des citoyens britanniques pendant le Blitz. D’autre part, les principes de propagande formulés par le gouvernement à compter du début du Blitz en particulier (septembre 1940) tels que le « People’s War » (la « guerre du peuple ») ou le « pulling together » (« tous dans le même bateau ») trouvèrent une illustration particulière dans la mise en avant de sons fédérateurs considérés comme typiques de la nation britannique.Le cœur de notre travail réside dans l’étude de la bande-son des films officiels de propagande commandés, produits ou sponsorisés par la Films Division du Ministère de l’Information. À compter du début de la guerre, l’unité documentaire britannique GPO (General Post Office) Film Unit fut intégrée au Ministère et renommée Crown Film Unit. Son rôle fut donc, tout au long de la guerre, aux côtés du Army Film Unit et des unités documentaires indépendantes – telles que le Shell Film Unit, Strand Film Company, le Realist Film Unit ou Spectator Short Films – de relayer les messages du gouvernement à travers des courts-métrages, des moyens-métrages ou des longs-métrages documentaires. Nous démontrons notamment que les principes de propagande chers au gouvernement – le « People’s War », le « pulling together », le « business as usual », etc. – ainsi que la mise en avant de la grandeur de la nation britannique et de son peuple et sa supériorité sur l’Allemagne nazie, se traduisirent dans le traitement de la bande-son de ces films et notamment dans une esthétique sonore créative. Notre étude de la bande-son des films documentaires officiels porte notamment sur le processus de « mise en musique » des sons de la nation et sur l’instauration d’un ordre musical au sein de sons disparates ainsi que sur l’établissement de constantes sonores encourageant le peuple britannique à résister face à l’adversitéThis thesis deals with the treatment of the soundscape of World War II Britain in British propaganda of the period. More specifically, it focuses on how the Ministry of Information sought to handle Britain’s wartime sonic environment through the projection of propaganda messages and the control of information and cultural productions. This resulted, on the one hand, in an attempt to neutralize the sounds of war that the government, with the support of the scientific community, considered harmful to the physical and mental health of British citizens during the Blitz. On the other hand, the propaganda principles formulated by the government such as the “People’s War” or the idea that British people were “pulling together”, were specifically illustrated by several “aural icons” that were considered typical of the British nation. At the heart of my study lies the analysis of the soundtracks of official propaganda films commissioned, produced or sponsored by the Films Division of the Ministry of Information. From the beginning of the war, the British General Post Office (GPO) Film Unit was integrated into the Ministry and renamed the Crown Film Unit. Its role throughout the war was therefore, alongside the Army Film Unit and independent documentary units – such as the Shell Film Unit, Strand Film Company, Realist Film Unit and Spectator Short Films – to convey the government’s messages through short, medium and feature-length documentaries. What I demonstrate is that the government’s propaganda principles as well as their extolling of the British nation and its people, and of their superiority over Nazi Germany, were reflected in the treatment of the soundtrack of these films. Through a creative sound aesthetics, these films endeavoured to “harmonize” the sounds of the nation and establish a musical order within discrete sounds, as well as soundmarks encouraging the British people to resist in the face of adversity
38
Marcolino, Marcio Cardoso. "O compositor Stanley Kubrick: análise do som no filme De olhos bem fechados de Stanley Kubrick através da teoria sonora de Michel Chion". Universidade Federal de Minas Gerais, 2008. http://hdl.handle.net/1843/JSSS-8ZFPVQ.
Resumen
This present work proposes the analisys of the film Eyes wide shut (1999) of Stanley Kubrick under the aspect of the intersection of the sound and image languages beyond the categories of sound theory´s Michel Chion. The sound context of film suggest a specific analysis in parallel with the filmic narrative of Kubrick, pointing him like a composer of soundtrack, increasing sound, giving it meaning in front of images.The way adopted came with the sound plans graphic plans of film sequences, showing on time, music, sound effects and voice to study the form like the director use sound like a semantic tool.Esta dissertação de mestrado tem como objetivo analisar o filme De olhos bem fechados de Stanley Kubrick sob o aspecto da interseção das linguagens sonora e imagética através das categorias da teoria sonora de Michel Chion. O universo sonoro do filme sugere uma análise específica em paralelo com a narrativa fílmica estabelecida por Kubrick, apontando o diretor como um compositor da trilha sonora, ao potencializar o material sonoro, dotando-o de significado frente às imagens. A metodologia adotada parte dos planos sonoros planilhas gráficas das seqüências do filme, explicitando no tempo, música, efeitos sonoros e voz para estudar a forma como o diretor utiliza o som como uma ferramenta semântica.
39
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/.
Resumen
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.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
40
Vion, Laurence. "Modifications des tourbillons d'extrémité d'hélices contra-rotatives en vue d'une réduction des nuisances sonores". Phd thesis, Ecole Polytechnique X, 2013. http://pastel.archives-ouvertes.fr/pastel-00843556.
Resumen
Cette thèse est une contribution à la réduction du bruit des CROR (Counter-Rotating Open Rotor). On s'intéresse plus particulièrement aux structures tourbillonnaires émises par l'hélice amont venant impacter les pales de l'hélice aval. L'objectif prévu de la thèse est d'explorer la possibilité de modification de ces structures en vue de réduire le bruit résultant de cette interaction au décollage. La première partie de la thèse est dédiée à leur caractérisation dans un cas particulier d'hélices (HTC5). La physique de formation de la nappe est d'abord décrite avec des outils numériques. Puis, l'essentiel de l'étude est mené sur une pale fixe reproduisant la loi de circulation d'une pale de l'hélice HTC5. Une étude expérimentale de cette pale fixe permet de déterminer les propriétés du tourbillon émis et d'éprouver la méthodologie numérique. Cette étape aboutit à la définition d'un modèle analytique permettant de décrire ce tourbillon. La seconde partie de cette thèse porte sur la modification de ces structures tourbillonnaires. Dans un premier temps, une application de concepts existant dans la littérature est réalisée sur la pale fixe de façon à observer leur impact sur les tourbillons. La réflexion menée sur ces résultats nous a amené à définir un nouveau concept de modification des structures tourbillonnaires : l'excroissance de bord d'attaque. Ce concept permet la génération de deux tourbillons co-rotatifs séparés par une zone de vorticité de signe opposé. La physique d'interaction entre ces deux tourbillons est étudiée. L'application de ce concept au CROR HTC5 permet de valider les gains acoustiques.
41
Lisco, Fabiana. "High rate deposition processes for thin film CdTe solar cells". Thesis, Loughborough University, 2015. https://dspace.lboro.ac.uk/2134/17965.
Resumen
This thesis describes the development of a fast rate method for the deposition of high quality CdS and CdTe thin films. The technique uses Pulsed DC Magnetron Sputtering (PDCMS). Surprisingly, the technique produces highly stable process conditions. CREST is the first laboratory worldwide to show that pulsed DC power may be used to deposit CdS and CdTe thin films. This is a very promising process technology with potential for eventual industrial deployment. The major advantage is that the process produces high deposition rates suitable for use in solar module manufacturing. These rates are over an order of magnitude faster than those obtained by RF sputtering. In common with other applications it has also been found that the energetics of the pulsed DC process produce excellent thin film properties and the power supply configuration avoids the need for complex matching circuits. Conventional deposition methodologies for CdS, Chemical Bath Deposition (CBD) and CdTe thin films, Electrodeposition (ED), have been chosen as baselines to compare film properties with Pulsed DC Magnetron Sputtering (PDCMS). One of the issues encountered with the deposition of CdS thin films (window layers) was the presence of pinholes. A Plasma cleaning process of FTO-coated glass prior to the deposition of the CdS/CdTe solar cell has been developed. It strongly modifies and activates the TCO surface, and improves the density and compactness of the deposited CdS thin film. This, in turn, improves the optical and morphological properties of the deposited CdS thin films, resulting in a higher refractive index. The pinhole removal and the increased density allows the use of a much thinner CdS layer, and this reduces absorption of blue spectrum photons and thereby increases the photocurrent and the efficiency of the thin film CdTe cell. Replacing the conventional magnetic stirrer with an ultrasonic probe in the chemical bath (sonoCBD) was found to result in CdS films with higher optical density, higher refractive index, pinhole and void-free, more compact and uniform along the surface and through the thickness of the deposited material. PDCMS at 150 kHz, 500 W, 2.5 μs, 2 s, results in a highly stable process with no plasma arcing. It allows close control of film thickness using time only. The CdS films exhibited a high level of texture in the <001> direction. The grain size was typically ~50 nm. Pinholes and voids could be avoided by reducing the working gas pressure using gas flows ii below 20 sccm. The deposition rate was measured to be 1.33 nm/s on a rotating substrate holder. The equivalent deposition rate for a static substrate is 8.66 nm/s, which is high and much faster than can be achieved using a chemical bath deposition or RF magnetron sputtering. The transmission of CdS can be improved by engineering the band gap of the CdS layer. It has been shown that by adding oxygen to the working gas pressure in an RF sputtering deposition process it is possible to deposit an oxygenated CdS (CdS:O) layer with an improved band gap. In this thesis, oxygenated CdS films for CdTe TF-PV applications have been successfully deposited by using pulsed DC magnetron sputtering. The process is highly stable using a pulse frequency of 150 kHz and a 2.5 μs pulse reverse time. No plasma arcing was detected. A range of CdS:O films were deposited by using O2 flows from 1 sccm to 10 sccm during the deposition process. The deposition rates achieved using pulsed DC magnetron sputtering with only 500 W of power to the magnetron target were in the range ~1.49 nm/s ~2.44 nm/s, depending on the oxygen flow rate used. The properties of CdS thin films deposited by pulsed DC magnetron sputtering and chemical bath deposition have been studied and compared. The pulsed DC magnetron sputtering process produced CdS thin films with the preferred hexagonal <001> oriented crystalline structure with a columnar grain growth, while sonoCBD deposited films were polycrystalline with a cubic structure and small grainy crystallites throughout the thickness of the films. Examination of the PDCMS deposited CdS films confirmed the increased grain size, increased density, and higher crystallinity compared to the sonoCBD CdS films. The deposition rate for CdS obtained using pulsed DC magnetron sputtering was 2.86 nm/s using only 500 W power on a six inch circular target compared to the much slower (0.027 nm/s) for the sonoChemical bath deposited layers. CdTe thin films were grown on CdS films prepared by sonoCBD and Pulsed DC magnetron sputtering. The results showed that the deposition technique used for the CdS layer affected the growth and properties of the CdTe film and also determined the deposition rate of CdTe, being 3 times faster on the sputtered CdS. PDCMS CdTe layers were deposited at ambient temperature, 500 W, 2.9 μs, 10 s, 150 kHz, with a thickness of approximately 2 μm on CdS/TEC10 coated glass. The layers appear iii uniform and smooth with a grain size less than 100 nm, highly compact with the morphology dominated by columnar grain growth. Stress analysis was performed on the CdTe layers deposited at room temperature using different gas flows. Magnetron sputtered thin films deposited under low gas pressure are often subject to compressive stress due to the high mobility of the atoms during the deposition process. A possible way to reduce the stress in the film is the post-deposition annealing treatment. As the lattice parameter increased; the stress in the film is relieved. Also, a changing the deposition substrate temperature had an effect on the microstructure of CdTe thin films. Increasing the deposition temperature increased the grain size, up to ~600 nm. CdTe thin films with low stress have been deposited on CdS/TEC10 coated glass by setting the deposition substrate temperature at ~200°C and using high argon flows ~ 70 sccm Ar. Finally, broadband multilayer ARCs using alternate high and low refractive index dielectric thin films have been developed to improve the light transmission into solar cell devices by reducing the reflection of the glass in the extended wavelength range utilised by thin-film CdTe devices. A four-layer multilayer stack has been designed and tested, which operates across the wavelength range used by thin-film CdTe PV devices (400 850 nm). Optical modelling predicts that the MAR coating reduces the WAR (400-850 nm) from the glass surface from 4.22% down to 1.22%. The application of the MAR coating on a thin-film CdTe solar cell increased the efficiency from 10.55% to 10.93% or by 0.38% in absolute terms. This is a useful 3.6% relative increase in efficiency. The increased light transmission leads to improvement of the short-circuit current density produced by the cell by 0.65 mA/cm2. The MAR sputtering process developed in this work is capable of scaling to an industrial level.
42
Kang, Chang Il. "Les débuts du cinéma en Corée : entre projection et spectacle vivant". Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080032.
Resumen
Cette recherche est une étude sur les débuts de l'histoire du cinéma en Corée des premières projections de films dans ce pays jusqu'en 1935, année pendant laquelle les Coréens ont commencé à produire des films parlants. Dans la première partie, nous avons étudié l’arrivée du cinéma en Corée, quand et par qui il a été introduit dans ce pays. Puis, quels films ont été vus par le public coréen et quels effets ils ont produits sur ce public.Dès les premiers temps du cinéma, chaque région du monde a essayé de surmonter les manques du film muet. Aussi, la deuxième partie s’intéresse à la particularité de la projection des premiers films muets en Corée. Le mot « spectacle cinématographique » se réfère, d’abord, à la représentation de films dans les premiers temps des débuts du cinéma. Le spectacle cinématographique sous-entend la possibilité d’un accompagnement supplémentaire, surtout sonore. En effet, les premiers films étaient « muets » et le moyen de mettre du son sur la pellicule n’avait pas encore été trouvé. De plus, souvent, il y avait aussi un concert ou un court spectacle secondaire (clown, bonimenteur, etc.) pendant, avant ou même après la projection des films. Cet ensemble autour de la projection de films représentait un véritable « spectacle cinématographique ». Nous avons étudié ce spectacle mixte présenté depuis 1919 à Séoul en Corée, et qui combine concert, projections de films, théâtre occidental moderne et boniment appelé Chosŏn Sinp'a Hwaltong Yŏnswaegŭk ou Chosŏn Kino-drama.Dans la troisième partie, nous avons présenté et analysé les données sur les films muets coréens dont nous avons pu retrouver les tracesThis research is a study of the history of cinema in Korea from the first motion pictures screenings until 1935, the year in which Koreans began making their talking films.In the first part, we study the arrival of cinema in Korea, when and by whom was the motion picture introduced in this country. Then, what films were seen by the Korean public and what effects they had on this audience. From the early times of cinema, the diverse regions of the world have tried to overcome the lack of the silent motion picture. The second part is focused on the specificity of the first silent motion pictures screenings in Korea. The Spectacle cinématographique can refer to the form of the representation of the motion pictures in the early days of cinema. The word Spectacle cinématographique implies the possibility of an additional accompaniment, especially the sound. The first films were "silent" and the way of putting sound on films had not been found yet. At that time, there was a concert or a short secondary show (clown, pitch, etc.) during, before or even after the screening of the films. We study the Spectacle cinématographique called Chosŏn Sinp'a Hwaltong Yŏnswaegŭk or Chosŏn Kino-drama which was presented since 1919 in Korea that combines the pitch, the concert, the modern western theater and the motion pictures screenings.In the third part, we report all the data concerning silent Korean films of which we still found the traces
43
Kang, Chang Il. "Les débuts du cinéma en Corée : entre projection et spectacle vivant". Electronic Thesis or Diss., Paris 8, 2018. http://www.theses.fr/2018PA080032.
Resumen
Cette recherche est une étude sur les débuts de l'histoire du cinéma en Corée des premières projections de films dans ce pays jusqu'en 1935, année pendant laquelle les Coréens ont commencé à produire des films parlants. Dans la première partie, nous avons étudié l’arrivée du cinéma en Corée, quand et par qui il a été introduit dans ce pays. Puis, quels films ont été vus par le public coréen et quels effets ils ont produits sur ce public.Dès les premiers temps du cinéma, chaque région du monde a essayé de surmonter les manques du film muet. Aussi, la deuxième partie s’intéresse à la particularité de la projection des premiers films muets en Corée. Le mot « spectacle cinématographique » se réfère, d’abord, à la représentation de films dans les premiers temps des débuts du cinéma. Le spectacle cinématographique sous-entend la possibilité d’un accompagnement supplémentaire, surtout sonore. En effet, les premiers films étaient « muets » et le moyen de mettre du son sur la pellicule n’avait pas encore été trouvé. De plus, souvent, il y avait aussi un concert ou un court spectacle secondaire (clown, bonimenteur, etc.) pendant, avant ou même après la projection des films. Cet ensemble autour de la projection de films représentait un véritable « spectacle cinématographique ». Nous avons étudié ce spectacle mixte présenté depuis 1919 à Séoul en Corée, et qui combine concert, projections de films, théâtre occidental moderne et boniment appelé Chosŏn Sinp'a Hwaltong Yŏnswaegŭk ou Chosŏn Kino-drama.Dans la troisième partie, nous avons présenté et analysé les données sur les films muets coréens dont nous avons pu retrouver les tracesThis research is a study of the history of cinema in Korea from the first motion pictures screenings until 1935, the year in which Koreans began making their talking films.In the first part, we study the arrival of cinema in Korea, when and by whom was the motion picture introduced in this country. Then, what films were seen by the Korean public and what effects they had on this audience. From the early times of cinema, the diverse regions of the world have tried to overcome the lack of the silent motion picture. The second part is focused on the specificity of the first silent motion pictures screenings in Korea. The Spectacle cinématographique can refer to the form of the representation of the motion pictures in the early days of cinema. The word Spectacle cinématographique implies the possibility of an additional accompaniment, especially the sound. The first films were "silent" and the way of putting sound on films had not been found yet. At that time, there was a concert or a short secondary show (clown, pitch, etc.) during, before or even after the screening of the films. We study the Spectacle cinématographique called Chosŏn Sinp'a Hwaltong Yŏnswaegŭk or Chosŏn Kino-drama which was presented since 1919 in Korea that combines the pitch, the concert, the modern western theater and the motion pictures screenings.In the third part, we report all the data concerning silent Korean films of which we still found the traces
44
Ledesma, Alonso René. "Study of the interaction between a liquid film and a local probe". Thesis, Toulouse, INPT, 2013. http://www.theses.fr/2013INPT0105/document.
Resumen
L’interaction statique et dynamique entre une sonde locale et un film de liquide provoque la déformation de ce dernier. Ce phénomène a été décrit par des équations analytiques, qui ont été analysées et résolues numériquement. Les potentiels d’interaction sonde/liquide et liquide/substrat ont été déduits à partir de l’intégration des forces de dispersion. La différence de pression à travers l’interface air/liquide a été calculée avec une équation de Young-Laplace modifiée, qui prend en compte les effets de la gravité, de tension superficielle, ainsi que les potentiels d’interaction liquide/substrat et sonde/liquide. Pour le cas statique, l’équation modifiée de Young-Laplace en équilibre a été examinée. La théorie de la lubrification a été utilisé pour décrire l’évolution du film liquide, afin d’analyser le phénomène dynamique. Des simulations numériques de la forme de la surface d’équilibre et de l’évolution dynamique du film ont été réalisées. Des comportements stables et instables ont été discernés, et les résultats ont confirmé l’existence d’une distance de seuil, pour le cas statique, et d’une combinaison de paramètres d’oscillation, pour la situation dynamique, pour lesquelles le saut du liquide vers la sonde se produit. Une analyse théorique a confirmé l’existence de conditions critiques qui séparent les régimes de comportement. Ces conditions critiques indiquent le rôle des paramètres physiques et géométriques dans la stabilité du système. Pour le cas dynamique, les résultats préliminaires sont rapportés et une interprétation qualitative du phénomène est formulée. En outre, des expériences de spectroscopie AFM de force et amplitude ont été effectuées et comparées avec les résultats numériquesThe static and dynamic interaction between a local probe and a liquid film provokes the deformation of the latter. This phenomenon has been described by means of analytical equations, which had been analyzed and numerically solved. Probe/liquid and liquid/substrate interaction potentials have been deduced from the integration of the dispersion forces. The pressure difference across the air/liquid interface has been calculated with a modified Young-Laplace equation, which takes into account the effects of gravity, surface tension, the liquid film/substrate and the probe/liquid interaction potentials. For the static case, the equilibrium modified Young-Laplace equation has been considered. The lubrication theory has been used to describe the liquid film evolution, in order to analyze the dynamic phenomenon. Numerical simulations of the equilibrium surface shape and the dynamic evolution of the film have been performed. Stable and unstable behaviors had been discerned, and results confirmed the existence of a threshold distance, for the static case, and a combination of oscillation parameters, for the dynamic situation, for which the jump of the liquid to contact the probe occurs. A theoretical analysis confirmed the existence of critical conditions separating the behavior regimes. This critical conditions indicate the role of the physical and geometric parameters in the system stability. For the dynamic case, preliminary results are reported and a qualitative interpretation of the phenomenon is formulated. In addition, AFM force and amplitude spectroscopy experiments had been performed and compared with the numerical results
45
Péronne, Emmanuel. "Dynamique électronique dans les fils et les boîtes quantiques InAs/A1lnAs sur substrat InP (001) sondée par spectroscopie femtoseconde infrarouge". Palaiseau, Ecole polytechnique, 2002. http://www.theses.fr/2002EPXX0006.
Resumen
La perspective d'utiliser les potentialités des nanostructures pour améliorer les performances des lasers interbande a suscité un grand nombre de travaux sur la croissance et d'études sur les propriétés opto-électroniques des nanostructures. La dynamique des électrons piégés dans les nanostructures type puits, fils et boîtes quantiques dépend fortement de la dimensionnalité du confinement (1D, 2D, 3D). La dynamique de capture et de relaxation intersousbande dans les fils quantiques a été peu étudiée, tandis que la relaxation intrabande dans les boîtes quantiques est l'objet de controverses tant expérimentales que théoriques. L'originalité de ce mémoire repose sur la réalisation d'un dispositif expérimental sensible uniquement à la dynamique des électrons et sa mise en oeuvre pour étudier à la fois des échantillons de fils et de boîtes quantiques obtenus par croissance auto-organisée dans le système InAs/A1InAs/InP(OOl). La dynamique de capture et de relaxation intersousbande/intrabande dans ces nanostructures auto-organisées a été étudiée par spectroscopie pompe-sonde infrarouge femtoseconde où la longueur d'onde de la sonde infrarouge est accordée sur une transition entre niveaux électroniques confinés et l'intensité de la pompe visible varie sur 3 ordres de grandeur afin d'extraire la contribution des collisions à la capture et à la relaxation. Nous avons pu ainsi mesurer une diminution globale des taux de capture et de relaxation des électrons lorsque la dimensionnalité du confinement augmente. D'autre part, la contribution des collisions a été mise en évidence dans la capture des électrons pour les échantillons de fils quantiques. Ce dispositif a enfin permis d'observer la saturation dynamique d'une transition intrabande dans un échantillon de boîtes quantiques. L'ensemble de ces résultats confirme l'absence d'effet de goulot d'étranglement comme facteur limitant dans les applications potentielles de ces nanostructures (lasers et photo-détecteurs).
46
Souza, Alessandro Flaviano de. "O mundo de Constantine: um estudo semiótico do efeito digital no texto fílmico". Pontifícia Universidade Católica de São Paulo, 2007. https://tede2.pucsp.br/handle/handle/4925.
Resumen
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Previous issue date: 2007-05-07The dissertation studies the digital effect and its performance in sincretics joints in the felt production of the audiovisual while significant of the expression. The study object is analysed in the Constantine film directed by Francis Lawrence, in 2005, like participate with other significant in the inter-semiotic way of the cinema, an audiovisual system, and of the Novel Magazine Hellblazer, a verb-visual printed system matter. The film counts the story of a antihero John Constantine how is a occultist and exorcist wizard capable to slide of the world of the men for the hell thanks for-normal gift skill with which he was born. The majority of the actors of the film, including proper it, acts alongside with the digital effect to fulfill its narrative program. To study this constituent of the film implies to treat it in the digital topology that organizes it from the way as the enunciater manifests to the one how receives the enunciated in an aesthetic arrangement of the expression mounted for strategies of articulation of the audiovisual. The digital effect operate as fruits of the plan of the sincretic expression of the audiovisual and, as a type of actors of the speech that it commands in the spaciality, the temporality and the actoriality, the significant movie constituent: audio and the visual; it materialize in the filmic space background with depth, perspective, third dimension, of which the one how receives the enunciated is installed text to integrate the tram. The semiotics developed around Algirdas Julien Greimas and its collaborators, theoretician and methodology skills, bases this construction of the meaning of the digital effect in the filmic text
A dissertação estuda o efeito digital e sua atuação em articulações sincréticas na produção de sentido do audiovisual enquanto significantes do plano da expressão. O objeto de estudo é analisado no filme Constantine dirigido por Francis Lawrence, em 2005, como resultado de uma produção intersemiótica do cinema, um sistema audiovisual, e da HQ Hellblazer, um sistema verbo-visual impresso de significação. O filme conta a estória de um anti-herói chamado John Constantine que é um mago ocultista e exorcista capaz de deslizar do mundo dos homens para o inferno graças a um dom para-normal com o qual nasceu. A maioria dos actantes do filme, incluindo ele próprio, contracena com os efeitos digitais para cumprir o seu programa narrativo. Estudar esse formante do discurso implica em tratá-lo na topologização do digital organizado a partir do modo como o enunciador os manifesta ao enunciatário em um arranjo estético da expressão montada por estratégias de enunciação do audiovisual. O efeito digital opera como fruto do plano da expressão sincrética do audiovisual e, também, como um tipo de actante do discurso que ordena na espacialidade, na temporalidade e na actorialidade, os significantes constituintes do sistema cinematográfico: o áudio e o visual; concretiza no espaço fílmico ambientações com profundidade, perspectiva, terceira dimensão, através dos quais o enunciatário é instalado na trama. A semiótica desenvolvida em torno dos estudos de Algirdas Julien Greimas e seus colaboradores, teórica e metodologicamente, fundamenta essa construção da significação do efeito digital no texto fílmico
47
Tapia, Daniel 1986. "A orquestra sinfônica do cinema norte-americano = o exemplo de Bernard Hermann = The orchestra of the north american cinema: the example of Bernard of Hermann". [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284554.
Resumen
Orientador: Claudiney Rodrigues CarrascoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa teve por finalidade demonstrar o processo pelo qual caminhou a linguagem da orquestração até sua chegada à trilha musical cinematográfica e, posteriormente, trazer à tona os processos adquiridos na música de cinema tendo a obra de Bernard Herrmann como exemplo. Ao observar a produção musical da primeira década do cinema norte americano, é possível perceber que a orquestração sinfônica do cinema é um dos frutos diretos do desenvolvimento da instrumentação e orquestração de concerto como linguagem. Para demonstrar este processo, estruturou-se uma análise cronológica das obras de compositores ligados ao contexto de produção germânico, considerado mais próximo em sua relação com a prática assumida pela música do cinema. Em um segundo momento, apresenta-se uma análise semelhante dos compositores que precedem Bernard Herrmann, considerados pilares de formação da linguagem musical no cinema. A terceira fase, por sua vez, trata da obra de Herrmann como um todo e analisa as peças compostas para Vertigo (1958) e Psycho (1960), ambas as produções dirigidas pelo cineasta Alfred Hitchcock
Abstract: This research has the aim of demonstrate the process on which the language of orchestration pervaded up to its arrival at film music composition and after, bring upon the processes acquired by film music using Bernard Herrmann's work as an example. On observing the musical production of the first decade of the north american cinema, it is possible to infer that the symphonic orchestration of cinema is one of the direct results of the concert music orchestration. To demonstrate this process, an cronological analysis of the works of the german composers was structured, considering this the closer model of cinema production. In advance, an equal analyses is made with the works of the cinema composers who preceeded Herrmann, considered references to the formation of the language. The third fase deals with Herrmann's work directly and analyses two of his works: Vertigo (1958) and Psycho (1960)
Mestrado
Fundamentos Teoricos
Mestre em Música
48
Maigrat, Guillaume. "Caractérisation expérimentale du remouillage des aciers". Thesis, Université de Lorraine, 2016. http://www.theses.fr/2016LORR0098/document.
Resumen
Sur la table de sortie d’un laminoir à chaud, le refroidissement des bandes d’acier est principalement assuré par des rampes de jets d’eau gravitaires qui vont impacter directement la surface supérieure de la bande en défilement. La température de la bande est initialement entre 800 et 900 °C et on cherche à la refroidir à des températures nettement inférieures mais précises avant son bobinage, cette température allant de la température ambiante à 700 °C suivant les propriétés voulues pour l’acier. Ce refroidissement assuré par les rampes de jets est transitoire et la vitesse de refroidissement est variable suivant la nature du régime de refroidissement. Le point de remouillage est défini par la température à laquelle le régime d’ébullition en film stable se termine et s’accompagne généralement d’une hausse significative des flux de refroidissements. Dans ce travail de thèse, nous avons cherché à caractériser ce point par des mesures d’épaisseur de vapeur effectuées à l’aide de sondes optiques. Les sondes optiques permettent de savoir si leur zone sensible est majoritairement dans le gaz ou le liquide et sont généralement exploitées pour faire des mesures de taux de vide. L’utilisation qui en est faite ici, à savoir une mesure précise de position d’interface, a demandé une calibration expérimentale précise afin de connaitre la position exacte de l’interface sur la zone sensible. Afin de disposer d’un outil fonctionnel, nous avons également cherché à modéliser la réponse des sondes à l’aide d’une méthode de lancer de rayons et en prenant en compte la formation du ménisque sur la pointe. Enfin, cette calibration et ce modèle ont été confrontés à des mesures expérimentales dans le cas du refroidissement d’une zone hémisphérique porté à haute température et donnant lieu à un régime d’ébullition en film stableOn a run out table of a hot rolling mill, the cooling of steel strips is mainly provided by ramps of water jets falling down that will directly impact the upper surface of the strip. The temperature of the strip starts between 800 and 900 °C and it is intended to cool at temperatures much lower than the start but still accurate before its winding, the temperature ranges from ambient temperature to 700 °C depending on the required properties for the steel product. This water-based process ensures a transient cooling at an uneven rate depending on the nature of the boiling regime. The rewetting point is defined by the temperature at which the stable film boiling regime ends. In general, the cooling fluxes show a significant increase at this particular transition. In this thesis, we sought to characterize rewetting by vapor thickness measurements and analysis using optical probes. The optical sensors inform us whether their sensitive area is mainly in the gas or in the liquid and are generally used to make void fraction measurements. The use that is made here, namely a precise measurement of the position of the interface, required a precise experimental calibration in order to know the exact position of the interface on the sensitive area. In order to have a working tool, we also modeled the response of the probes by using a ray tracing method and taking into account the formation of the meniscus on the tipoff the probe. Finally, the calibration and model were compared with experimental measurements in the case of the cooling of a hemispherical area initially at high temperature that provides a stable film boiling regime when it is partially immersed
49
Guadalupe, Silveira Carlos Henrique. "La musique de film : introduction à l’étude des attentes musico-filmiques du spectateur". Thesis, Lyon 2, 2013. http://www.theses.fr/2013LYO20059/document.
Resumen
Tout au long de la vie l’individu acquiert, parfois de façon involontaire ou inconsciente, des connaissances sur son environnement, et il retient plus particulièrement les régularités. Ces connaissances, elles-mêmes, permettent de développer des attentes sur des événements futurs. Ces attentes sont utiles dans la perception et dans l'anticipation des conséquences des événements (ou des actions en cours), ce qui conduit l’individu à réagir de façon plus adéquate et plus rapide en fonction de ses prévisions. En se basant sur la théorie des « attentes musicale » de David Huron, nous proposons de créer une théorie des « attentes musico-filmiques ». L’objectif de notre thèse est d'examiner les concepts de base de la façon dont la musique de film peut créer des attentes relatives à la narration du film chez les spectateurs. Nous allons étudier comment cela affecte la façon dont ils perçoivent et interprètent le filmThroughout our lives, we acquire (sometimes involuntary or even unconsciously) knowledge about our environment, and we retain in particular its regularities. These regularities are learned, stored as knowledge and will subsequently allow creating expectations that will facilitate the cognitive processing of the environmental information. Hence, via this process, the analysis of an expected event becomes faster and more accurate than that of an unexpected event. Based on David Huron's “musical expectation” theory, we propose to investigate, and develop a theory of “expectations about associations between the film and the music”. The aim of our thesis is to discuss the basic concepts of how film music can create particular expectations in relation to the narration of the film for viewers and how this affects the way they perceive the film and interpret the movie
50
Lagos, Labbé Paola. "La imagen bisagra. Representación de los intersticios narrativos, visuales y sonoros en los diarios documentales de David Perlov: Diary (1973-1983), Updated Diary (1990-1999) y My Stills (1952-2002)". Doctoral thesis, Universitat Autònoma de Barcelona, 2021. http://hdl.handle.net/10803/673765.
Resumen
Aquesta tesi es basa en l’anàlisi i interpretació qualitativa i reflexiva dels recursos narratius, visuals i sonors que articulen els assajos cinematogràfics “Diary” (1973-1983), “Updated Diary” (1990-1999) i “My Stills” (1952-2002), per descriure les poètiques de l’interval que el seu autor, el cineasta, fotògraf i artista visual brasiler-israelià David Perlov (Rio de Janeiro, 1930 - Tel Aviv, 2003) desplega per representar el desarrelament. El conjunt d’aquests diaris conforma un corpus cinematogràfic únic; un film-fleuve de prop de deu hores que canalitza l’experiència quotidiana de Perlov al llarg de cinquanta anys de la seva vida i esdevé un monumental passatge que connecta els diversos plans en els què oscil·la la realitat representada pel cineasta, entre ells, la seva intimitat afectiva i personal, la seva identitat com a nòmada i les crisis i conflictes bèl·lics en els que Israel es va veure involucrat durant la segona meitat de segle XX.
Per modelar una subjectivitat fracturada i en trànsit, Perlov convoca una diversitat d’estratègies assagístiques d’autorepresentació que operen tant a nivell discursiu, com estètic i polític, i que travessen les diverses manifestacions artístiques que va conrear al llarg de la seva vida. Així, les recerques expressives que emprenen els seus diaris recullen elements propis no tan sols de les arts cinematogràfiques, sinó també de la fotografia, la pintura, la literatura i la música. Per aquest motiu la mirada documental de Perlov comporta una gran complexitat audiovisual, rica en girs intertextuals, gests, rostres, cossos, trajectòries, espais, coses, cases, sons, veus i reflexions que s’imbriquen formant un teixit fílmic obert, fluid i intersticial. La investigació aspira a interrogar aquesta multiplicitat de recursos des d’una aproximació interrelacional que examini aquelles pràctiques intersticials que formulen una estètica de l’interval característica en els diaris de Perlov. A partir d’aquest enfocament i fruit de la correspondència entre teoria i anàlisi, la tesi proposa delimitar el concepte de “imatge frontissa” per simbolitzar els passatges, relacions i tensions entre vida i art; entre el privat i el públic; interior i exterior; dins i fora —metaforitzats a la llar i al carrer-; entre el domèstic i el polític; la microhistòria i la macrohistòria; el temps passat i el temps present; entre l’univers dels vius i l’univers dels morts; entre el jo i els altres; entre desterraments i retorns; entre nomadismes, fronteres, pàtries i ciutats (Tel Aviv, Sâo Paulo, Rio de Janeiro, Belo Horizonte, París); pertinença i desarrelament, entre la imatge fixa i la imatge en moviment; entre tecnologies analògiques —el cel·luloide— i dispositius electromagnètics -el vídeo-; entre so i sentit; veu i paraula, per esmentar alguns dels múltiples trànsits a través dels llindars que ens ofereix l’obra de Perlov. Entre d’altres elements, la poètica intersticial de la imatge frontissa es tradueix visualment en la persistent presència de finestres, portes i llindes, com xarneres que regulen els fluxos entre els diferents universos de representació entrellaçats en els diaris de Perlov i les relacions que operen a la problematització del seu desarrelament i estrangeria substancials.Esta tesis se basa en el análisis e interpretación cualitativa y reflexiva de los recursos narrativos, visuales y sonoros que articulan los ensayos cinematográficos “Diary” (1973-1983), “Updated Diary” (1990-1999) y “My Stills” (1952-2002), para describir las poéticas del intervalo que su autor, el cineasta, fotógrafo y artista visual brasileño-isarelí David Perlov (Río de Janeiro, 1930 - Tel Aviv, 2003) despliega para representar el desarraigo. El conjunto de estos diarios conforma un corpus cinematográfico único; un filme-fleuve de cerca de diez horas que canaliza la experiencia cotidiana de Perlov a lo largo de cincuenta años de su vida y deviene en un monumental pasaje que conecta los diversos planos en los que oscila la realidad representada por el cineasta, entre ellos, su intimidad afectiva y personal, su identidad como nómade y las crisis y conflictos bélicos en los que Israel se vio involucrado durante la segunda mitad del siglo XX. Para modelar una subjetividad fracturada y en tránsito, Perlov convoca una diversidad de estrategias ensayísticas de autorrepresentación que operan tanto a nivel discursivo, como estético y político, y que atraviesan las diversas manifestaciones artísticas que cultivó a lo largo de su vida. Así, las búsquedas expresivas que emprenden sus diarios congregan elementos propios no solo de las artes cinematográficas, sino también de la fotografía, la pintura, la literatura y la música. De ahí que la mirada documental de Perlov detente una gran complejidad audiovisual, rica en guiños intertextuales, gestos, rostros, cuerpos, trayectorias, espacios, cosas, casas, sonidos, voces y reflexiones que se imbrican formando un tejido fílmico abierto, fluido e intersticial. La investigación aspira a interrogar esta multiplicidad de recursos desde una aproximación interrelacional que examine aquellas prácticas intersticiales que formulan una estética del intervalo característica en los diarios de Perlov. A partir de dicho enfoque y fruto de la correspondencia entre teoría y análisis, la tesis propone delimitar el concepto de “imagen bisagra” para simbolizar los pasajes, relaciones y tensiones entre vida y arte; entre lo privado y lo público; interior y exterior; adentro y afuera —metaforizados en el hogar y la calle—; entre lo doméstico y lo político; la microhistoria y la macrohistoria; el tiempo pasado y el tiempo presente; entre el universo de los vivos y el universo de los muertos; entre el yo y los otros; entre destierros y retornos; entre nomadías, fronteras, patrias y ciudades (Tel Aviv, Sâo Paulo, Río de Janeiro, Belo Horizonte, París); pertenencia y desarraigo, entre la imagen fija y la imagen en movimiento; entre tecnologías analógicas —el celuloide— y dispositivos electromagnéticos —el vídeo—; entre sonido y sentido; voz y palabra, por mencionar algunos de los múltiples tránsitos a través de los umbrales que nos ofrece la obra de Perlov. Entre otros elementos, la poética intersticial de la imagen bisagra se traduce visualmente en la persistente presencia de ventanas, puertas y dinteles, como goznes que regulan los flujos entre los distintos universos de representación entrelazados en los diarios de Perlov y las relaciones que operan en la problematización de su desarraigo y extranjería sustanciales.
This thesis is based on a qualitative and reflexive analysis in order to interpret the narrative, visual and sound resources that articulate the cinematographic essays “Diary” (1973-1983), “Updated Diary” (1990-1999) and “My Stills” (1952-2002). These operations seek to describe the poetics of the interval that its author, Brazilian-Israeli filmmaker, photographer and visual artist, David Perlov (Rio de Janeiro, 1930 - Tel Aviv, 2003), displays to represent his uprooting. The set of these diaries forms a unique cinematographic corpus; a filme-fleuve of around ten hours that shapes the daily experience of Perlov throughout fifty years of his life, and becomes a monumental passage that connects the different spheres in which his reality oscillates: his affective and personal intimacy, his identity as a nomad and the crises and wars in which Israel was involved during the second half of the 20th century. In order to depict a fractured and “in transit” subjectivity, Perlov convenes diverse essayistic self-representation strategies that operate on a discursive, aesthetic and political level, and which travers the various artistic manifestations he developed throughout his life. The expressive searches set out by his diaries gather together elements not only from the cinematographic arts, but also from photography, painting, literature and music. Hence, Perlov’s documentary gaze holds a great audiovisual complexity, rich in intertextual winks, gestures, faces, bodies, trajectories, spaces, objects, houses, sounds, voices and reflections that imbricate to shape an open, fluid and interstitial filmic weave. This research aims to interrogate this multiplicity of resources from an inter-relational approach, able to examine those interstitial practices that formulate an aesthetic of the interval, characteristic in Perlov’s diaries. Based on this scheme and as a result of the correspondence between theory and analysis, the thesis proposes to delimit the concept of “hinge image” to symbolize the passages, relations and tensions between life and art; the private and the public; interior and exterior; inside and outside —metaphorized in the home and the street—; between domestic and political; microhistory and macrohistory; past and present; between the universe of the living and the realm of the dead; between the self and the others; between exile and returns; between nomadism, borders, homelands and cities (Tel Aviv, Sâo Paulo, Rio de Janeiro, Belo Horizonte, Paris); belonging and uprooting, between the still and the moving image; between analogue technologies —celluloid— and electromagnetic devices —video—; between sound and sense; voice and word, just to mention some of the multiple transits through the thresholds offered by Perlov’s ouvre. Among other elements, the interstitial poetic of the hinge image visually decodes into a persistent presence of windows, doors and archways, as mechanisms of fluctuation that regulate both the flows between the different universes of representation intertwined in Perlov’s diaries, and the relations that operate in the problematization of his substantial uprooting and foreignness.
Universitat Autònoma de Barcelona. Programa de Doctorat en Comunicació Audiovisual i Publicitat