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1
Fougère-Danezan, Barbara. "Surdité et cinéma : un choc qui fait empreinte". Electronic Thesis or Diss., Paris 1, 2023. http://www.theses.fr/2023PA01H302.
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Seuls deux ouvrages abordent la question de la surdité au cinéma. Il ne faudrait cependant pas croire que ce sujet manque d'intérêt. Nous postulons même que ce thème offre une richesse insoupçonnée. Notre thèse s'engage ainsi dans l'exploration de la relation complexe et dynamique entre le cinéma et la surdité, en l’observant sous différents angles. En nous appuyant sur les Deaf et disability Studies, nous examinerons les diverses empreintes que la surdité a pu laisser dans l'art cinématographique, ainsi que celles laissées par le cinéma dans la culture sourde. Pour cela, nous chercherons à comprendre comment le cinéma et la communauté sourde se rencontrent, s’influencent mais également entrent parfois en conflit. Des premières réalisations phonoscopiques de Demenÿ jusqu’aux productions grand public contemporaines, en passant par des créations en langue des signes, nous mettrons en lumière le rôle souvent méconnu des personnes sourdes dans l’histoire du cinéma, en tant que sujets, acteur·rice·s, producteur·rice·s et réalisateur·rice·s. Notre exploration nous amènera à nous demander quelles transformations le cinéma subit, tant dans sa forme que dans son fond, lorsqu’il rentre en contact avec la culture Sourde, et vice et versa. Nous examinerons également les efforts déployés par celleux qui cherchent à faire du cinéma un espace « commun » aux sourd·e·s et aux entendant·e·sDespite the fact that, to date, only a couple of books treat of deafness in cinema, we should not hastily conclude that this subject lacks interest. We even postulate that this subject offers unsuspected richness. Our thesis thus engages in the exploration of this complex and dynamic relationship which exists between cinema and deafness, by observing it from different angles. We will therefore rely on Deaf and Disability Studies to examine the various marks that deafness has left in cinematographic art, as well as those left by cinema in Deaf culture. To do this, we will look back in history and seek to understand how cinema and the deaf community meet, influence each other or come into conflict. From Demenÿ's first phonoscopic productions to contemporary mainstream productions, including creations in sign language, we will highlight the often overlooked role of deaf people in the history of cinema, as subjects, actors, producers and directors. Our exploration will lead us to ask ourselves what transformations cinema undergoes, both in its form and in its content, when it comes into contact with Deaf culture, and vice versa. We will also examine the efforts made by those who seek to make cinema a “common” space for deaf and hearing people
Https://youtu.be/Evq_Jgd4DBU
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Ouédraogo, Adama. "Les nouveaux formats sonores dans le champ de l'esthetique du cinéma". Thesis, Toulouse 2, 2013. http://www.theses.fr/2013TOU20131.
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Introduit au cinéma quelques dizaines d'années après la naissance de cet art, le son a toujours fait sentir la place qui est la sienne. De nos jours encore, même si beaucoup de progrès comme la synchronisation avec l'image, l'acceptation du son dans la création cinématographique, l'amélioration de la qualité du son, la spatialisation-enveloppement du son sont entre autres des éléments à saluer, ce dernier, surtout dans sa relation avec l'image filmique semble être laissé à la merci des firmes qui se disputent le marché. Les documents qui traitent de ce domaine n'existent presque pas hormis quelques lignes dans certaines revues. Des questions demeurent sans réponse : pourquoi l'emploi du son multicanal au cinéma ? Quelles raisons esthétiques poursuivies aux regards des points de vue aristotélicien et kantien de l'art ?Introduced to the cinema a few decades after the birth of this art, sound has always felt the place is hers. Even today, although much progress as synchronization with the image, the acceptance of sound in film creation, improved sound quality, the spatial-wrap are among its other elements greet. The latter, specializing and envelope with the audiovisual films seem to be left to thank you for firms that compete in the market. Documents that address this area are hardly except in some few lines reviewed. Questions remains unanswered why the use of multichannel sound in cinema? What could be the reasons for the continued aesthetic according to Aristotelian and Kantian theories of art?
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Katinakis, Nicolina. "L'influence du cinéma dans l'écriture romanesque de Marguerite Duras". Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33293.
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Un Barrage contre le Pacifique, L'Amant and L'Amant de la Chine du Nord, three books written by Marguerite Duras, can be distinguished from the rest of the author's literary production by their will to rewrite the author's love story with a Chinese man. In the first novel of this cycle, cinema occupies such an important place as a theme that it influences the characters' life. In the two other novels, it appears less as a theme than through cinematographical devices that transform the author's literary style.This thesis attempts to explain in what way cinema influences the novelistic writing of Marguerite Duras. More specifically, this study exposes the three novels' generical, intertextual, thematical and semiotical characteristics in order to establish how they contribute to the creation of a particular writing style influenced by cinema.
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Bourehla, Hedia. "La tradition orale, source d'inspiration à la création cinématographique arabe". Paris 1, 1997. http://www.theses.fr/1997PA010604.
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La tradition orale est un mode de communication traditionnelle qui a joué un rôle primordial quant à la transmission du savoir et des connaissances dans la culture arabo-musulmane. L'avènement de l'Islam et son expansion a permis à la société arabe de passer d'une culture orale à une culture visuelle, celle de l'écrit et de la représentation malgré l'opposition religieuse aux arts de l'image. Plusieurs formes de représentation sont apparues. On peut citer la calligraphie qui est devenue un moyen de figurer par l'écrit, la miniature, la peinture, le théâtre d'ombres, le théâtre occidental et les arts de l'image fixe et en mouvement. L'adoption de ces nouvelles formes de communication par la société arabe a permis à la tradition orale d'affirmer son pouvoir d'adaptation et d'être une source d'inspiration pour ses artistes créateurs. En revanche, elle a fait perdre à la tradition orale sa place d'autrefois - l'unique gardienne de la mémoire collective-. La création audiovisuelle comme un des supports d'adaptation de la tradition orale, a rencontré plusieurs problèmes car c'est une technique étrangère à la société arabe. Des initiatives de sauvegarde et de revalorisation de ce patrimoine traditionnel ont été faites par des producteurs et des cinéastes arabes. Le cinéma et la télévision peuvent être les meilleurs moyens pour préserver des éléments de la tradition orale. Toutefois, le passage du récit oral au récit cinématographique entrainera nécessairement une modification de la forme du langage, du temps et de l'espace. L'analyse des films inspirés de la tradition orale démontre d'une part, que l'attitude du cinéaste envers son patrimoine varie d'une personne à l'autre car elle suit ses exigences morales et intellectuelles. D'autre part, que le récit oral et le conte peut être producteur de nouvelles formes narratives dans le cinéma arabe et une des sources de son authenticitéThe oral tradition is a mode of traditional way of communication that has played a key role as a vehicle of the knowledge transmission in the arabo-islamic culture. The advent of the Islam and its expansion has led to a major change from an "oral type culture" to a "visual type culture" based mainly on written documents, and image figuration, thus, dispite the religion opposition to the image reproduction. Among the many representation modes that had appeared at that time, calligraphy, which became a new artistic way of writing, the miniature, the painting, the shadow theater, the western theater and in general arts of the image ether fixed or in movement, were from the most important artistic changes. Those new communication moves had evolved as major ways of communication, the oral tradition which had been the unique vehicle for the collective memory storage has to adapt effectively itself to remain as a source of inspiration for artists and creators. One of the most obvious new adaptation mode of the oral tradition that had appeared, the audiovisual creation was one from the most significant. But the audiovisual creation faced many problems mainly because it was a technique imported from foreigner countries. Many trials of the safeguard of the oral tradition have been carried out by several producers and film makers from the oral world the cinema and the television indeed way and do represent the best way to preserve the basic elements of the oral tradition. However the transition from an oral tradition to an image representation tradition (i. E. Cinematographic account) will necessarly lead to a change in the langage form. The analysis of some films made directors form the arab culture, and inspired from earther oral traditio, illustrates the different attitude of the arab film directors towards the inherited patrimony which varies from one to another depending on this moral and intellectual standards in life. Nevertheless, and despite the difficulties faced by the arab oral tradition in integrating completly transmission mode (i. E, cinema), the oral account can without doubt generate new narrative forms in the arab cinema and can be one of the most significant source of its authenticity
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Benoist, Sophie. "Johnny Depp : de l'art de la métamorphose à l'art du paradoxe". Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030121.
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Des Griffes de la nuit de Wes Craven en 1984 à Pirates des Caraïbes : la fontaine de jouvence de Rob Marshall en 2011, Johnny Depp a bâti une des oeuvres les plus originales et les plus éclectiques de l’histoire du jeu d’acteur américain au cinéma. Dès ses deux premiers grands rôles, il a installé les fondements d’une conduite artistique à laquelle il a peu dérogé. Avec Cry-Baby de John Waters en 1989, il exagère chaque posture et chaque expression, jusqu’à la défiguration. L’année suivante, il a livré l’interprétation dépouillée de la créature mi-homme,mi-machine d’Edward aux mains d’argent de Tim Burton.Depuis, rares sont les personnages deppiens qui échappent au désir de métamorphosede l’acteur, lequel est alimenté par des sources d’inspiration à la présence visuelle singulière et parachevé par le recours aussi bien au sous-jeu qu’au sur-jeu. Depp invente de nouvelles formes expressives en multipliant et en harmonisant les manifestations de ces registres antagonistesFrom Wes Craven’s A Nightmare on Elm Street (1984) to Rob Marshall’s Pirates of theCarribean: On Stranger Tides (2011), Johnny Depp has built one of the most original andeclectic careers in the history of American film acting. As early as his first two big roles hehas exhibited a strong sense of artistic ethic from which he has rarely departed. In JohnWaters’ Cry-Baby (1989), he exaggerated each gesture, each facial expression. The followingyear, he starkly impersonated Tim Burton’s half machine, half human Edward Scissorhands.Since his debut, the characters played by Depp rarely escaped this transformative urge,which draws inspiration from various aesthetic sources and culminates in the skilful use ofboth underplay and overplay. Depp creates new forms of artistic expression by merging andharmonising these two opposing styles
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Guglielmetti, Yohann. "De la relation entre musique et images, en prenant comme témoin le cinéma du réalisateur-compositeur Tom Tykwer". Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H317/document.
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La sempiternelle recherche de compréhension par le visuel, des émotions générées par la musique, ouvre un horizon de paradoxes au cinéma qui mérite que l'on s'y attarde. L'esthétique du réalisateur-compositeur Tom Tykwer qui réalise ses films comme Wagner compose ses opéras en écrivant partition et livret, et dont l'inflexibilité sur sa double fonction est probablement unique au cinéma, nous sert de modèle pour consolider notre révision de quelques pensées communément admises sur la relation entre musique et images. Nous y revisitons la définition de la musique en tant que matière sonore du film, la question de sa concordance avec l'image, de son indépendance alors qu'elle intègre un tout unifié, ainsi que de son rapport aux sens et à leur transcendance. Les images comme substrat matériel et la musique comme élément de conscience chez ce réalisateur-compositeur, conservent leur autonomie de sens alors même que la partition est intimement liée à la structure du film. Elles s'inscrivent dans un rapport de complémentarité qui remet en cause tout un paradigme basé sur l'idée d'analogie ou de convergence, en somme, de dualité entre images et musique au cinémaThe perennial search of comprehension by the visual, of emotions generated by music, opens an horizon of paradoxes in cinema that merits further consideration. Filmmaker-composer Tom Tykwer's aesthetics that allows him to direct movies as Wagner composes his operas by writing scores and libretto, and whose inflexibility of his double function is probably unique in cinema, serve us as model to strengthen our revision of some commonly admitted thoughts about the relationship between music and images. We reassess the definition of music as sound material of films, the question of its concordance with the image, of its indépendence even though it integrates an unified whole, as well as its connection with the senses and their transcendence. Images as material substrate and music as element of consciousness in this director-composer's work retain their autonomy of sense while the score is closely connected to the film'structure. They are consistent with a complementary relation that questions an entire paradigm based on the idea of analogy or convergence, in short, of a duality between images and music in cinema
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Boey, Danny. "The national specificity of horror sources in Asian horror cinema". Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/50769/1/Danny_Boey_Thesis.pdf.
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This dissertation explores the relationship between horror films and the national contexts in which they are produced by analyzing several Asian horror movies – Ringu (Japan), The Eye (Hong Kong) and Shutter (Thailand). Utilizing these films as case studies, the dissertation examines the degree to which genre cinemas are nationally-specific, and the degree to which it is possible to make genre films that can enter international markets and be comprehensible in various national markets as well. The dissertation also makes the following claims on the national specificity of genre cinema: i) The sources of frightening elements in horror films are nationally-specific. ii) There is a regional "Asian" horror because of the intertwining national histories and shared cultural elements across several Asian countries.
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Kang, Chang Il. "Les débuts du cinéma en Corée : entre projection et spectacle vivant". Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080032.
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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
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Dallaire, Frédéric. "Création sonore et cinéma contemporain : la pensée et la pratique du mixage". Thèse, Paris 10, 2014. http://hdl.handle.net/1866/11587.
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Notre thèse décrit et analyse les conditions esthétiques, matérielles et idéelles qui rendent possibles les agencements sonores du cinéma contemporain. Au cours des 30 dernières années, le raffinement des outils de manipulation du son, l’importance grandissante du concepteur sonore et le nouvel espace de cohabitation des sons (favorisé par le Dolby et la diffusion multicanal) sont des facteurs qui ont transformé la création et l’écoute du son au cinéma. Ces transformations révèlent un nouveau paradigme : le mixage s’est graduellement imposé comme le geste perceptif et créateur qui rend compte de la sensibilité contemporaine. Notre thèse explore les effets de la pensée du mixage (qui procède par résonance, simultanéité, dosage et modulation) sur notre écoute et notre compréhension de l'expérience cinématographique. À l'aide de paroles de concepteurs sonores (Murch, Beaugrand, Thom, Allard…), de textes théoriques sur le son filmique (Cardinal, Chion, Campan), de documentaires sur des musiciens improvisateurs (Lussier, Glennie, Frith), de films de fiction à la dimension sonore affirmée (Denis, Van Sant), de textes philosophiques sur la perception (Leibniz, James, Straus, Szendy…), d'analyses du dispositif sonore cinématographique, notre thèse rend audibles des tensions, des récurrences, de nouveaux agencements, des problèmes actuels et inactuels qui forgent et orientent l'écoute du théoricien, du créateur et de l'auditeur. En interrogeant la dimension sonore de la perception, de l’action, de l’espace et de la pensée, cette thèse a pour objectif de modifier la façon dont on écoute, crée et pense le son au cinéma.This thesis describes and analyzes the esthetic, material and conceptual conditions that make the acoustic structures of contemporary cinema possible. The refinement of tools used for manipulating sound, the growing importance the sound designer and the emergence of a new space for sounds to coexist in (brought on by Dolby and multichannel sound systems) are factors that, over the past 30 years, have transformed the way we work with and listen to sound in film. These transformations reveal a new paradigm: mixing gradually imposed itself as the creative and perceptual act capable of accounting for our contemporary sensibility. This thesis explores the effects of the “thought process of mixing” (which functions by resonance, simultaneity, dosage and modulation) on the way we hear and understand the cinematographic experience. Working from the accounts of sound designers (Murch, Beaugrand, Thom Allard…), theoretical texts on film sound (Cardinal, Chion, Campam), documentaries on improvisational musicians (Lussier, Glennie, Frith), fiction films with a acute acoustic sensibility (Denis, Van Sant), philosophical texts on perception (Leibniz, James, Straus, Szendy…) and analyses of the cinematographic sound apparatus, this thesis renders audible the tensions, the recurrences, the structural connections and the problems, old and new, that forge and direct the theoretician, the artist and the auditor’s way of listening. By questioning the auditory dimension of perception, action, space and thought, this thesis aims to change the way we hear, create and think cinema.
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Dias, Fabiana Quintana 1982. "Orfeu = do mito à realidade brasileira uma análise da trilha sonora dos filmes "Orfeu Negro" (1959) e "Orfeu" (1999) baseados na peça "Orfeu da Conceição" de Vinicius de Moraes". [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284437.
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Orientador: Claudiney Rodrigues CarrascoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-19T06:51:07Z (GMT). No. of bitstreams: 1 Dias_FabianaQuintana_M.pdf: 6613270 bytes, checksum: faf596c45dfc10530af2d819ca323be8 (MD5) Previous issue date: 2011
Resumo: Esta pesquisa tem como objetivo estudar a trilha sonora dos filmes "Orfeu Negro", de Marcel Camus (1959) e "Orfeu", de Cacá Diegues (1999), integrando música instrumental, canção, sound design e edição de som enquanto elementos criativos das obras e sua relação com as outras linguagens que compõem a totalidade dos filmes. Será feita uma decupagem imagética e sonora analisando a trilha musical como recurso articulatório da narrativa fílmica. Serão observadas, também, as estratégias encontradas pelos diretores ao realizar a transcrição do mito Orfeu para a linguagem audiovisual. A dramaturgia dos filmes será analisada a partir de sua referência direta que é a peça "Orfeu da Conceição" de Vinicius de Moraes, que antecipou musicalmente a bossa nova. A análise compreenderá, ainda, o modo pelo qual a música se insere na dramaturgia específica do cinema e a importância do pensamento sonoro cinematográfico. O universo musical de Orfeu é tão vasto que, para se compreender as trilhas musicais dos filmes, será necessário visitá-lo em sua longa história, nas várias manifestações do mito, especialmente as dramático-musicais
Abstract: This reseach deals about the Orfeu's soundtrack including music, songs, sound design and sound edition from the movies "Black Orpheus", directed by Marcel Camus (1959), and "Orfeu", directed by Cacá Diegues (1999), likewise a creative elements and their relationships the sound and film language as a whole. The Orfeu's musical universe is so great that, to understand the soundtracks of the movies it's necessary visit and know the history of musical dramaturgy, in what many manifestations of the myth are found. The objective is to make an image and sound decupage by means of an analysis of the soundtrack as a narrative film resource. There'll be analysed too the director's strategies to make the transcription of the Orpheu's myth using the conventions of the film's language. The start point is the seminal work of Vinicius de Moraes - "Orfeu da Conceição" - that influences bossa nova and the related films. These analysis will include, either, the way music is used to articulate the dramaturgy in those movies, and the importance of the cinematografic's musical thought
Mestrado
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Mestre em Multimeios
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Hsieh, Ming Chih. "Service provisioning in two open-source SIP implementation, cinema and vocal". Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1008195.
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The distribution of real-time multimedia streams is seen nowadays as the next step forward for the Internet. One of the most obvious uses of such streams is to support telephony over the Internet, replacing and improving traditional telephony. This thesis investigates the development and deployment of services in two Internet telephony environments, namely CINEMA (Columbia InterNet Extensible Multimedia Architecture) and VOCAL (Vovida Open Communication Application Library), both based on the Session Initiation Protocol (SIP) and open-sourced. A classification of services is proposed, which divides services into two large groups: basic and advanced services. Basic services are services such as making point-to-point calls, registering with the server and making calls via the server. Any other service is considered an advanced service. Advanced services are defined by four categories: Call Related, Interactive, Internetworking and Hybrid. New services were implemented for the Call Related, Interactive and Internetworking categories. First, features involving call blocking, call screening and missed calls were implemented in the two environments in order to investigate Call-related services. Next, a notification feature was implemented in both environments in order to investigate Interactive services. Finally, a translator between MGCP and SIP was developed to investigate an Internetworking service in the VOCAL environment. The practical implementation of the new features just described was used to answer questions about the location of the services, as well as the level of required expertise and the ease or difficulty experienced in creating services in each of the two environments.KMBT_363
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Costa, Sandro Dalla. "Restauração sonora: um estudo sobre técnicas para restauração e experiências realizadas no cinema". Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-13092013-114744/.
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Este trabalho tem como proposta discutir a restauração sonora de filmes no Brasil. Através de entrevistas realizadas com profissionais da área de som que já participaram de diversos projetos com este objetivo, da pesquisa de textos sobre o assunto e da experiência do seu autor nessa área, o texto busca oferecer um panorama acerca das questões técnicas e dos procedimentos de trabalho envolvidos nas etapas da restauração sonora, bem como um histórico de alguns dos trabalhos já realizados e das principais dificuldades encontradas pelos profissionais que atuam nesse campo. Como resultado, o presente trabalho busca apresentar as diferentes filosofias de trabalho que tendem a ser assumidas para o processo de restauração sonora e como cada escolha pode afetar a originalidade e o conceito da obra. Assim, mais do que na discussão teórica sobre a restauração, o viés desse trabalho incide na relação entre técnica e postura conceitual do restaurador, bem como no modo como essa relação afeta o resultado da restauração descrito pelas experiências práticas destes profissionais.This work aims at discussing movie audio restoration in Brazil. By means of interviews with audio professionals who have previously worked on such projects, research on writings about the subject, and the author\'s own experience in the field of sound restoration, this work tries to offer a panorama of the technical questions and operating procedures involved in sound restoration. It also offers a history of previously performed work and expounds the main difficulties faced by professionals working in this area. As a result, this study presents the different work philosophies that are most commonly adopted during the sound restoration process, and how each choice can affect the originality and conception of the work. Thus, more than a theoretical discussion on restoration, this work concentrates on the relationship between the technique and the conceptual posture of the restorer, as well as the way this relationship influences the restoration results as described by these professionals practical experience.
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Marignan, Marylin. "Évolution de la fréquentation des cinémas et des théâtres à Lyon (1929-1939)". Thesis, Lyon 2, 2014. http://www.theses.fr/2014LYO20055.
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C’est le 8 mars 1929 qu’on voit pour la première fois à Lyon, dans une salle de cinéma, une production américaine sonore, Les Ailes (Wings, William A. Wellman, 1927). Ce film marque les débuts du cinéma sonore et parlant dans la capitale des Gaules. Dès lors, les grands établissements de la ville s’équipent d’une installation. C’est un succès phénoménal. L’arrivée et le triomphe du cinéma parlant inquiètent le monde théâtral qui voit en lui un sérieux et redoutable concurrent. À cette époque, de nombreux articles rapprochant le septième art et l’art dramatique vont paraître, nombre d’entre eux s’interrogent alors sur l’avenir du théâtre. Mais qu’en est-il réellement des répercussions de la généralisation du parlant sur l’évolution de la fréquentation des théâtres de la ville de Lyon ? Comment réagissent-ils face à l’arrivée des films parlants ? Cette nouvelle technologie a-t-elle eu des conséquences sur leur fréquentation et sur leur fonctionnement ? Dans une approche socio-culturelle, économique et historique, cette thèse se propose donc d’étudier et d’analyser l’évolution de la fréquentation des cinémas et des théâtres lyonnais au cours des années trente. L’étude de l’impact de la généralisation du parlant, puis de la crise économique et enfin de la mise en place des nouvelles lois sociales par le Front populaire en juin 1936 est alors déterminante pour comprendre les changements de rapports qui s’établissent entre ces deux artsThe first time that an American sound film was shown in a cinema in Lyon, was on March 8, 1929. The movie was entitled Wings (Les Ailes, William A. Wellman, 1927). This film was a starting point for sound films also known as talking pictures, in the capital of the Gauls. From that point, cinemas started to equip. It was a phenomenal success. The beginnings and the triumph of sound films worried the theatre world, which saw them as a serious and fierce rival. This is the time when a lot of articles comparing cinematographic art and drama were published, many of them wondering about the future of drama. What were the repercussions of the transition to sound films on the evolution of theatres attendance in Lyon? How did theatres react to the rise of talking pictures? Did this new technology have an impact on theatres attendance and functioning? This thesis will pay attention to the evolution of attendance in Lyon’s cinemas and theatres in the 1930s focusing on a sociocultural, economic and historic approach. The study of the impact of the transition to sound films as well as the economic crisis and the implementation of laws by the Front populaire in June 1936 are then determining to understand the evolution of the connection between drama and cinema
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Santos, Gustavo Nascimento dos. "Um cinema para os ouvidos: mapeando o radiodocumentário". Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-09032017-101526/.
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Este estudo busca demonstrar de que maneira o documentário, gênero originalmente cinematográfico, desenvolve-se no rádio. Entendido como uma narrativa autoral de não-ficção, trata-se de um gênero radiofônico pouco conhecido no Brasil. Para mapeá-lo, analisamos esse objeto sob diversos aspectos. Em primeiro lugar, buscamos contextualizá-lo dentro de um campo de estudo do Rádio Autoral. Considerando sua estreita relação com o documentário audiovisual, comparamos essas duas formas de abordagem e representação do real. Buscamos, em seguida, a definição de um conceito de radiodocumentário, apontando para as diferentes terminologias que congregam esse repertório de peças ao redor do mundo. Posteriormente, elencamos os elementos que compõe sua linguagem e descrevemos seu desenvolvimento histórico em alguns países, sob a perspectiva técnica e estética. Além disso, discutimos a presença do dispositivo documental no passado do rádio brasileiro e contextualizamos a presença do gênero no Brasil. Considerando que as novas formas de distribuição de áudio em plataformas digitais vêm transformando, nas últimas duas décadas, o modo de produção, difusão e o status cultural do radiodcumentário, propomos um estudo comparativo de dois modelos representativos do panorama contemporâneo: a webrádio francesa ARTE Radio e o programa semanal americano This American Life. Por fim, analisamos alguns exemplos de radiodocumentários desses dois modelos.This research aims at demonstrating how the documentary, originally a film genre, develops into a radio format. Understood as an authorial nonfiction narrative format, it is a radiophonic genre almost unknown in Brazilian radio. To map it, we analyzed this object in several aspects. Firstly, we attempted a contextualization within the \"authorial radio\" field of study. Considering its close relationship with the audiovisual documentary, we compared these two formats with respect to their approach on representing reality. We, then, pursued a definition for the concept of radio documentary, pointing at the different terminologies of this repertory from around the world. Later, we listed the elements that compose its language and described the historical development of the radio documentary under the technical and aesthetic perspective in some countries. Furthermore, we discussed the presence of the documentary approach format in Brazilian radio and demonstrated how the genre presents itself in Brazil. Noticeable changes regarding the production model, distribution and the cultural status of the radio documentary have been noticed over the past two decades. A comparative review with respect to two contemporary models was then proposed: the French web radio ARTE Radio and the weekly American radio show This American Life. Finally, we analyzed some examples of these two models.
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Niang, Hadja. "Littérature et cinéma africains dans le champ de création de Sembene Ousmane : la source des adaptations". Thesis, Paris Est, 2009. http://www.theses.fr/2009PEST0007.
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Guelwaar, à l’opposé des autres œuvres de Sembène Ousmane – dont les films sont tirés de nouvelles et de romans- a suivi le sens inverse du schéma classique de l’adaptation en ce qu’il est un film devenu roman. Une telle particularité fait que notre travail suit deux parcours : de l’écrit à l’écran et de l’écran à l’écrit. La fonction narrative de Sembène qui représente dans l’écriture l’art du conte africain constitue le point commun entre un bon nombre de travaux sur l’œuvre littéraire et filmique de Sembène Ousmane. A partant du narratif pris en charge par le « griot-conteur », notre étude tient à montrer que le langage de l’œuvre de Sembène n’est pas seulement narratif, il est aussi « monstratif » et surtout visuel, lequel langage occupe une part importante dans la lecture du livre et du film de Sembène OusmaneGuelwaar, contrary to other works of Sembène Ousmane - Films of which are pulled by news and by novels, followed the inverse sense of the classic plan of the adaptation in the fact that it is a film become novel. Such a peculiarity makes that our work follows two courses: of the paper in the screen and the screen to the paper.The narrative function of Sembène which represents in the writing the art of the African tale constitutes the common point enter a good many of works on the literary and cinematic work of Sembène Ousmane. In leaving of narrative taken care by the "griot-storyteller", our study is anxious to show that the language of the work of Sembène is not only narrative,He is also " monstratif " and especially visual, who language occupies an important part in the reading of the book and the film of Sembène Ousmane
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Silva, Joaquim da. "Sources, signification and genre stability in American Film Noir". Doctoral thesis, Universidade de Aveiro, 2011. http://hdl.handle.net/10773/4200.
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Doutoramento em CulturaO conceito film noir é manifestamente complexo de ser definido. Atendendo a que não existe um estudo verdadeiramente completo sobre a estilística do film noir, esta tese, inserida no âmbito dos Estudos Cinematográficos, pretende ser uma tentativa de exploração do conceito film noir e do género cinematográfico sob vários aspectos. Trata-se, no fundo, de uma forma de restabelecer este conceito descritivo americano, desde o início dos anos quarenta até finais dos cinquenta, através de um processo de análise iconográfica. Este projecto focaliza-se na seguinte questão de investigação: pode o film noir americano ser considerado um género cinematográfico enquanto tal? Numa primeira fase, analisam-se os contextos cinematográfico e social preexistentes no cinema noir de modo a compreender este fenómeno cinematográfico, enquanto uma extensão do movimento hard-boiled, uma cosmovisão subversiva que descaradamente se opõe aos mitos americanos da auto-promoção americana, que marcaram muitos filmes de Hollywood durante a época da Depressão. Depois, descrevem-se os movimentos culturais específicos, bem como os acontecimentos sociopolíticos da época, a psicanálise, o estruturalismo e a teoria de autor, que ajudaram a contextualizar os padrões do film noir e a forma como o conceito acabou por gradualmente penetrar na cultura americana. As películas a analisar concentrar-se-ão sobre símbolos visuais específicos e elementos cinematográficos (tais como os das técnicas de iluminação e fotografia), adoptando uma perspectiva semiótica. Através dos conceitos saussuriano de “signo” e de “ícone” perceiano, procuro demonstrar de que forma os símbolos em filmes noir constituem significados que são enfaticamente indexicais, isto é, de que maneira eles são transversais, passando de um símbolo para outro (ou evento), direccionando e coagindo a atenção do espectador. A tese conclui então que o filme noir não pode ser considerado e entendido como um género fílmico e que o seu estilo visual (o aspecto dominante do cinema noir) tem como propósito acentuar o desencanto sentido no rescaldo da guerra, representar os meandros da vida urbana americana e, principalmente, enfatizar a incerteza, a ansiedade e o lado obscuro da existência humana.
Film noir is a notoriously complex concept to define. Since a complete study of the stylistics of film noir has not yet appeared, this thesis, integrated in the area of film studies, is an endeavour to come to terms with film noir and film genre in a number of ways, and is essentially an earnest attempt at reexamining through a process of iconographic analysis this descriptive term applied to American films of the early forties to the late fifties. This project concentrates on the following research question: can film noir be regarded as a cinematic genre as such? The cinematic and social backgrounds to film noir are outlined so as to understand this cinematographic phenomenon as an extension of the literary hard-boiled movement, a subversive worldview that blatantly set itself in opposition to the self-promoting American myths that had marked many Depression-era Hollywood films. Specific cultural movements and socio-political events, psychoanalysis, structuralism and auteurism will be explored, as they all have helped contextualise noir patterns, and enabled the term film noir to gradually gain authority in American film criticism. The films to be analysed focus on specific visual symbols and cinematographic elements (like lighting techniques and photography), and their iconographic signification will be examined from a semiotic perspective. Through the notions of the Saussurian “sign” and the Peircean “icon”, it is intended to demonstrate how the film symbols in noirs give rise to signifiers which are emphatically indexical, that is, how they crosscut from one symbol (or event) to another, directing and constraining the spectator’s attention. The thesis then concludes that film noir, for reasons of its complexity and indefinition, cannot be considered and understood as a film genre, and that its visual style (the dominant aspect of noir) spans a number of genres serving the purpose of stressing the disenchanted aftermath of the war, represents the underside of American urban life, and most especially emphasises uncertainty, anxiety, and the dark side of human existence.
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Iwamizu, Rosana Stefanoni. "Foley no Brasil". Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-26052015-121357/.
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Esse trabalho discute o foley brasileiro através da apresentação de aspectos técnicos, estéticos e históricos dessa atividade. A partir de entrevistas com profissionais da área e da experiência profissional da autora em foley, é traçado um panorama da atividade que compreende: os usos do foley na trilha sonora cinematográfica; técnicas de gravação; o desenvolvimento da atividade no país dos anos 1950 até hoje; e a observação dos estúdios e artistas de foley brasileiros mais proeminentes em atividade.The present work discusses the Brazilian foley by presenting technical, aesthetic and historical aspects of the activity. Through interviews with foley professionals and the professional expertise of the author, this overview of Brazilian foley comprehends: the use of foley in the film soundtrack, recording techniques, the development of the activity in Brasil since the 1950´s, and the observation of the most prominent foley studios and foley artists in Brazil at the present.
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au, Collin Chua@uts edu y Collin Chua. "Re-Sounding Images: Sound and Image in an Audiovisual Age". Murdoch University, 2007. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20080526.111205.
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This dissertation examines the evolving articulation of sound and image in
contemporary culture, with particular reference to film. It argues that sound and image
have undergone a historical machined separation, followed by a machined fusion or
recombination. The machined fusion of sound and image has enabled the creation of
soundful images, which are more than simply the sum of their parts. Through the infusion
of sound, images are now routinely reinforced with a performed sense of presence, where
they are made to sound more real, more powerful, more authentic. Through association
with the image, sounds are reinforced to the extent of becoming realer than real. By
tracing the history of sound and image from their initial machined separation to their
subsequent machined fusion, it will be argued that a new relationship has been created
that has shaped an influential new mode of communication and perception.
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Pinton, Filho Nelson 1974. "A Trilogia da Morte de Gus van Sant : sons, conceitos e paisagens sonoras". [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285252.
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Orientadores: Claudiney Rodrigues Carrasco, Eduardo Simões dos Santos MendesTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Um olhar atento para os eventos que compõe a trilha sonora da Trilogia da Morte de Gus van Sant: Gerry (2002), Elephant (2003) e Last Days (2005). Os materiais sonoros são tratados como um aliado, auxiliando na construção narrativa. De maneira geral, incorporam músicas de paisagens sonoras, cujos fonogramas originais são combinados aos demais elementos da banda sonora, resultando numa mixagem particular e surpreendente que impacta na montagem fílmica, nos processos inerentes e complexos do tempo, nas tensões sonoras internas compostas de timbres e no resultado cognitivo para o espectador. Esta pesquisa auxilia na compreensão do processo de sound design, surgido em meados dos anos 70, e que se estabelece nos dias atuais como forma expressiva de tratar os sons nos filmes
Abstract: A closer look at the events that comprehend the soundtrack of Gus van Sant's Death Trilogy: Gerry (2002), Elephant (2003) and Last Days (2005). These films use the sound material as an ally, which helps the narrative construction. In general terms, they make use of pieces of soundscape music, the original phonograms are blended with other elements of the soundtrack, thus producing a new and surprising mix that impact in the film montage, e.g. the inherent and complex time, the inner sound tensions made of timbres and cognitive results in the audience. This research helps to understand the sound design process, which appeared in the mid 70¿s and establishes itself in the present days as an expressive form to treat sounds materials in movies
Doutorado
Multimeios
Doutor em Multimeios
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Souza, João Baptista Godoy de. "Procedimentos de trabalho na captação de som direto nos longas-metragens brasileiros Contra todos e Antônia: a técnica e o espaço criativo". Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/27/27153/tde-02062011-111819/.
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Este estudo é uma reflexão sobre a prática de trabalho do registro sonoro sincrônico centrado na descrição e na análise dos procedimentos empregados na captação de som direto na realização dos longas-metragens brasileiros Contra todos e Antônia. A prática do registro sonoro sincrônico é conceituada como um método de trabalho compartilhado por uma categoria profissional, com procedimentos norteados por parâmetros técnicos que se conformaram precocemente no período de transição para o cinema sonoro durante a constituição do código de representação do cinema clássico norte-americano. Dependente da tecnologia, o método de trabalho de captação de som direto reestrutura-se com o advento de novas ferramentas, permitindo o surgimento de formas alternativas de realização. As experiências analisadas permitem perceber o amplo espectro de escolhas envolvidas na atuação do profissional do som direto, indicando a existência de uma componente criativa na aplicação e desenvolvimento desta prática de trabalho. Premissas particulares de realização, condicionantes orçamentárias e o advento de nova tecnologia estimulam o surgimento de procedimentos que dinamicamente reanimam o tradicional método de trabalho de captação de som direto.This study is a reflection on the working methods of synchronous sound recording focusing on the description and analysis of the procedures used in the sound recording of the Brazilian feature films Contra todos and Antônia. The practice of synchronous sound recording is conceived as a working method shared by professional recordists, with procedures guided by technical parameters that surfaced very early in the transition period from silent to sound films, then to the establishment of representational standards of the American classical cinema. Being technology dependent, the working method of sound recording renews itself with the coming of new tools, that enables new ways of working. The experiences in focus reveal the broad spectrum of choices involved in the practice of the sound recordist, unveiling the existence of a creative component in the process. Production issues, budgetary constraints and the advent of new technology stimulate the emergence of procedures that dynamically reform the traditional working method in sound recording.
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Alves, Bernardo Marquez. "Os estudos do som no cinema: evolução quantitativa, tendências temáticas e o perfil da pesquisa brasileira contemporânea sobre o som cinematográfico". Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-19112013-154644/.
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Esta dissertação pretende mapear e discutir o pensamento sonoro cinematográfico dos pesquisadores brasileiros contemporâneos através de uma revisão sistemática que aborda a evolução quantitativa, as tendências temáticas e o perfil da pesquisa brasileira contemporânea sobre o som no cinema. Os estudos selecionados para tal investigação e análise foram os livros, as teses, as dissertações e os artigos acadêmicos nacionais que contemplam o universo sonoro cinematográfico, publicados no Brasil no período entre os anos 2001 e 2011, e que articulam essencialmente questões que não são específicas da trilha musicalThis master thesis aims to map and discuss the film sound thinking of contemporary brazilian researches through a systematic rewiew that approach the quantitative developments, the thematic tendencies and the profile of Brasilian contemporary film sound studies. The studies selected for this research and analysis were national books, doctoral theses, master´s theses and academic articles the address the universe of film sound published in Brasil between 2001 and 2011, and essentially articulate issues that are not specific of the film score
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LOUVIOT, JACQUELINE. "Le regard de sight and sound sur le cinema britannique des annees 50 et 60". Université Marc Bloch (Strasbourg) (1971-2008), 1997. http://www.theses.fr/1997STR20082.
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Grace a son eclectisme et a d'indeniables qualites formelles, la revue sight and sound, lancee en 1932 puis publiee par le british film institute, assura bientot sa reputation a l'echelle internationale. Pendant ce temps, et malgre une embellie pendant la deuxieme moitie des annees 50 et le debut des annees 60 avec le free cinema puis la british new wave, le cinema britannique restait fort mal considere tant dans son propre pays qu'a l'etranger. Cette these s'interroge sur l'attitude de la revue a l'egard de son cinema national pendant ces deux decennies determinantes de son histoire. A la fois bastion institutionnel finance sur fonds publics et pendant quelque temps tribune du plus virulent des polemistes, le realisateur lindsay anderson, son role peut en effet sembler des plus ambigus. Plus sociologique qu'esthetique, cette approche doit beaucoup a la pensee de pierre bourdieu. Il apparait que la revue, apres avoir tente d'assurer au cinema la legitimite qui lui faisait defaut en s'appuyant sur les valeurs sures du passe, telles que les enjeux ethiques ou les cautions litteraires, s'est ensuite tournee vers la france pour lui emprunter sa nouvelle vision du cinema. En definitive le cinema britannique semble avoir fait les frais d'une ligne editoriale relativement conformiste, privilegiant elitisme et cosmopolitismeInspired by the views of sociologist pierre bourdieu, this thesis addresses the way the distinguished film magazine sight and sound published by the british film institute assessed the national cinema during the fifties and sixties. Mainly concerned with the still uncertain legitimacy of cinema, wouldn't the editorial board sacrifice the british production in the name of higher stakes such as its own claims to authority?
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Rodrigues, Robson Emilio de Sousa. "Software livre, impactos no cinema e na pós-produção audiovisual = o caso do Arquivo Sonoro Neotropical da Unicamp". [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284475.
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Orientador: Jacques Marie Edme VielliardDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Nas últimas décadas, os desenvolvedores de sistemas e os usuários acompanham a guerra entre softwares livres e proprietários. Em um campo que sofre constantes transformações, muitos profissionais da informática e correlatos ainda têm dificuldade em distinguir entre o 'programa gratuito' e 'programa livre'. Este documento transpõe para o universo da Comunicação em Multimeios uma pesquisa com objetivos teóricos e práticos acerca dos benefícios da tecnologia de 'código aberto' para o setor de Multimeios. Como objeto de estudo, foi desenvolvido um sistema Web com a tríade PHP, MySQL e Apache para o Arquivo Sonoro Neotropical, fundado em 1977 e atualmente dirigido pelo Prof. Jacques Vielliard. Tudo se inicia com uma fundamentação teórica que expõe definições e polêmicas, bem como justifica a escolha das linguagens acima mencionadas, que têm sido o centro das atenções nos últimos tempos. Órgãos internacionais utilizam essas ferramentas para a inclusão digital e o avanço das pesquisas científicas, em reação aos altos preços impostos pelo mercado proprietário. Será observado como é possível a autosustentabilidade dentro da proposta do livre e gratuito. Intenciona-se apontar qual o espaço reservado ao setor de multimeios dentro deste cenário e quais os benefícios para pesquisadores e profissionais da comunicação em audiovisual. Este trabalho pretende demonstrar que essas linguagens e tecnologias são confiáveis e podem auxiliar o profissional de comunicação em multimeios no gerenciamento de arquivos de multimídia
Abstract: People are watching a war between software free movement and proprietary industry. In a place with constant changes there are a lot of people, professionals from this area or not, that just can't understand important nuance between 'open source' and 'software free'. This document transport to the Multimeios Communication language important concepts about software free and open source movement. We'll to know important discoveries to that area knowledge. The web system called Arquivo Sonoro Neotropical is our study object, and He was building with PHP, MySQL e Apache technologies. He was founded in 1977 and still under the same administration, the scientist Jacques Vielliard. In the beginning the reader will understand definitions, polemics thoughts and a justification about digital inclusion and for the selected languages and technologies. On the other hand, we going to know what the proprietary industry does to still on the dispute. We going to appoint some solutions that free technologies has to Multimeios, specially with audio edition. There is an intention to demonstrate that free movement has a real possibility to help the Multimeios Professional to management digital files in the web
Mestrado
Mestre em Multimeios
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Talijan, Emilija. "An extreme ear to the world : noise in contemporary European cinema". Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/285103.
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This thesis examines a recent shift in attention to the auditory present in a strand of post-1999 contemporary European film and philosophy. It argues that noise, defined predominantly as unpleasant or unidentifiable sound, has been harnessed by particular filmmakers as a means to tune our attention to different bodies sounding in our environment. Yet while the ear is an organ we perceive to be open, it could always be receiving more. This limit to our audition is a limit the filmmakers examined here productively engage with in ways that raise questions about the politics and ethics of listening to different bodies. The thesis takes Jean-Luc Nancy's articulation of the listening body, what he calls the corps sonore, to posit a theory of a 'cinematic corps sonore' where the boundaries between on-screen bodies, medium and spectator are dissolved in the mutual vibratory soundings that characterise the state of being 'all ears'. In doing so, the thesis offers a revision of the haptic framework that has dominated recent sensuous theories of film as well as applications of Nancy's thought to film in the inter-discipline of film philosophy. The analysis proceeds via close readings of individual films to consider how noise tunes us to different bodies and the specific issues raised in doing so in ways that resonate beyond the philosophical limits of Nancy's corps sonore. Chapter one examines the 'unlistenable' in the work of Catherine Breillat and Gaspar Noé. It revises accounts of the supposed 'unwatchability' of Breillat and Noé's cinema by examining their respective appeals to volume and frequency, revealing both the possibility of intimacy and the risk of vulnerability that the corps sonore poses. Chapter two takes the corps sonore to the question of national borders and social bodies by bringing post-colonial theorist Édouard Glissant's concept of the écho-monde to Tony Gatlif's Exils (2004) and Arnaud des Pallières' Adieu (2004). It argues that both filmmakers appeal to the migratory properties of noise to think through questions of identity, relation and the different degrees of belonging that sound inscribes. The final chapter asks whether cinema constitutes a site that allows for an amplification of the nonhuman. Attention is given both to the practice of Foley and to the use of Foley in Lars von Trier's Antichrist (2009) and Peter Strickland's Berberian Sound Studio (2012) to show how a non-coincidence between body and sound figures cinema as a place of resonance, animated by the scattered structure of dynamic relations between things that Foley brings about. Yet the chapter also casts doubt over the possibility of noise indicating something outside of human world-projection and as such, disrupts the otherwise increasingly prehensile attention that I argue filmmakers have been able to pay to the body through the auditory.
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Wang, Liyun. "Le sous-titrage du cinéma français en Chine : enjeux, traduction du sens, contraintes". Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA054/document.
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L’objectif de cette thèse consiste à cerner les enjeux, les contraintes et les normes qui régissent le sous-titrage cinématographique en tant qu’opération traduisante. Cette recherche se fonde sur un corpus constitué de films français, dont des comédies (romantiques) particulièrement, qui ont été tout récemment distribués dans les salles chinoises. Dans un premier temps, nous essayons de mettre en évidence, suivant l’évolution des échanges cinématographiques entre la Chine et d’autres pays, plus spécifiquement la France, les enjeux qu’un pays avec sa politique, son idéologie propre, son économie, sa société et son peuple pose à l’introduction des films étrangers ainsi qu’à leur transfert linguistique en général et à leur sous-titrage en particulier. Dans un second temps, nous tentons de démontrer, à la lumière de la théorie interprétative, qu’à l’instar de toute opération traduisante, le sous-titrage est soumis aux mêmes étapes, à savoir la compréhension du sens original, sa déverbalisation, sa réexpression dans la langue-cible, et l’analyse justificative de la solution retenue. En même temps, nous ne tardons pas à signaler les contraintes auxquelles devrait obéir le sous-titrage, qualifié de traduction contrainte ainsi que leur impact sur l’équivalence du sens. N’étant qu’une introduction à d’autres travaux de recherche sur le sous-titrage, qui reste jusque-là plutôt une activité empirique, cette étude vise à susciter plus d’intérêts de la part de la communauté scientifique, qui pourrait sortir de la marginalisation cet immense champ transdisciplinaireThe purpose of this thesis is to identify the challenges, constraints and norms that govern film captioning as a translating operation. This research is based on a corpus of French films, including (romantic) comedies, which have recently been distributed in Chinese cinemas. At first, we try to highlight, following the evolution of the cinematographic exchanges between China and other countries, more specifically France, the challenges that a country with its politics, its own ideology, its economy, his society and his people, sets for the introduction of foreign films as well as their linguistic transfer in general and their subtitling in particular. Secondly, we try to demonstrate, in the light of the interpretative theory, that, like any translating operation, subtitling is subjected to the same stages, namely the understanding of the original meaning, its deverbalisation, its re-expression in the target language, and the justifying analysis of the chosen solution. Meanwhile, we will point out the constraints to which subtitling should be subjected, described as constrained translation, as well as their impact on the equivalence of meaning.As an introduction to other research on subtitling, which until now has been mostly an empirical activity, this study aims to generate more interest from the scientific community, which could change the marginal status of this immense transdisciplinary field
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McGill, Amy. "The contemporary Hollywood film soundtrack : professional practices and sonic styles since the 1970s". Thesis, University of Exeter, 2008. http://hdl.handle.net/10036/41173.
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Since the 1970s, the soundtrack in Hollywood has come of age as a complex and sophisticated site of cinematic art. Greater combinations of sounds expressing a wider spectrum of tones, textures and volumes can be heard at the movies more than ever before, while behind the scenes, the number of personnel producing them has grown considerably. Moreover, this era has witnessed a proliferation of different artistic and professional approaches to sound. This thesis provides a detailed and wide-ranging picture of these developments and how they were ultimately affected by changes within the American film industry. Drawing on a range of accounts by contemporary sound practitioners and critics, the thesis explores sound production practices, focusing on the sound designer and composer, their creative choices, collaborative relationships - or “sound relations” - and the technologies they employ. The soundtrack is also examined in terms of “sonic style”: the ways in which sound effects, music and the voice function variously in the service of contemporary film narration and genre. It is argued that Hollywood sound production practices and styles have diversified to a high degree, particularly during the last three decades. Industrial realignments on the “New Hollywood” landscape in the 1970s and the integration of the independent and major sectors throughout the 1990s have introduced greater flexibility to mainstream filmmaking norms. These events have played key roles in the expansion of its different sonic styles and working practices in contemporary Hollywood. I take George Lucas and David Lynch, their respective sound design partners Ben Burtt and Alan Splet and composers John Williams and Angelo Badalamenti, and identify distinctions between their professional modus operandi and sonic styles to illustrate the growing diversification within the industry. Most importantly, these examples are used to demonstrate both the intricacy and variety that characterises the styles and crafts of the contemporary Hollywood soundtrack.
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Valencise, João Miguel. "A chegada do som nos cinemas de São Paulo segundo a Folha da Manhã (1928-1933)". Universidade Federal de São Carlos, 2012. https://repositorio.ufscar.br/handle/ufscar/5597.
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This dissertation focuses on study and observation of the period of transition from silent films to sound films in movie theaters at São Paulo City, as recorded by the pages of Folha da Manhã newspaper between 1928 and 1933. It aims to investigate and understand how adaptations to this new technology were proceeded in exhibitors market. Besides this strictly technical question (including the availability of national projection equipment), this study sought to offer a narrower look at several aspects related to this process, such as the several ways of presentation of the cinematographic product, the presence of national movie pictures at the 1920s and the conformation of movie market at São Paulo state capital.
A presente dissertação centra-se no estudo e observação do período de transição entre o filme silencioso e o sonoro nas salas de cinema da cidade de São Paulo, registrado nas páginas do jornal Folha da Manhã entre 1928 e 1933. Ela tem como objetivo investigar e compreender como se processaram as adaptações do mercado exibidor a esta nova tecnologia. Além da questão especificamente tecnológica, incluindo-se a disponibilização de equipamentos nacionais de projeção, este estudo buscou lançar um olhar mais amplo sobre diversos aspectos envolvidos neste processo, tais como as diversas formas de apresentação do produto cinematográfico, a presença do cinema nacional na década de 1920 e a conformação do mercado de filmes na capital paulista.
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Cueff, Alain. "De la Dernière Cène aux Marilyn, un examen des sources chrétiennes et de leur incidence dans l'oeuvre d'Andy Warhol". Thesis, Tours, 2011. http://www.theses.fr/2011TOUR2017.
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L’œuvre d'Andy Warhol a été évaluée dans le contexte culturel du Pop Art en fonction de certains thèmes : condition de l'image médiatique, héritage duchampien, paradoxes du modernisme, statut de la marchandise, unicité de l’œuvre d'art... Ce faisant, la culture propre de Warhol, déterminée par son rapport à la religion chrétienne, a été largement ignorée. Ces essais interrogent l'articulation d'une culture et d'une pensée religieuses à une pratique et à des motifs modernes à partir d'un changement de paradigme et de perspective. Il fallait vérifier comment ces sources chrétiennes se manifestent dans le détail et en évaluer les conséquences sur l'interprétation. Les questions de l'incarnation et de l'individuation, telles qu'il les traite dans ses portraits, ne sont pas envisageables sans une réflexion sur son rapport à la religion chrétienne. Plus généralement, ce point de vue fait ressortir le rapport complexe de Warhol à la modernitéThe work of Andy Warhol has been evaluated in the context of Pop Art, and scholarship favored a number of themes: the condition of the mass media image, Marcel Duchamp's legacy, the paradoxes of modernism, the status of commodities, the notion of originality of the artwork... So that his specific culture, established in a stringent relationship to Christian religion, has regularly been largely ignored. This dissertation envisions the articulation of a religious culture and thinking to modern praxis and topics. Thus, a change of paradigm and perspective is required. It became necessary to substantiate how the Christian inspiration reveals itself in the work and modify its interpretation. The issues of incarnation and individuation, as Warhol handles them in his series of commissioned portraits, can't be understood without an extended examination of his relationship to Christian theology. More generally, this standpoint does stress Warhol's complex attitude towards modernism
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Bauchet, Marie-Cécile. "La couleur dans le cinéma de Hal Hartley : les sources hollywoodiennes d'un langage chromatique filmique entre rêve et réalité". Toulouse 2, 2003. http://www.theses.fr/2003TOU20085.
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Hal Hartley parodie plusieurs genres filmiques pour forger une nouvelle écriture filmique où la couleur est à la fois discours de la parodie et de l'ironie autant que discours esthétique. Partant d'un résumé des principales théories successives de la lumière et de la perception de la couleur, cette thèse aborde l'approche philosophique et esthétique de la couleur en général, retrace l'historique du cinéma en couleur et analyse, à travers un certain nombre de films hollywoodiens en noir et blanc et en couleur, choisis pour leur palette chromatique, les genres du gangster, du film noir et du western qui constituent la base des codes subvertis par le postmodernisme de HARTLEY. Au-delà de la polychromie réaliste, la déconstruction des films semble être un simple prétexte pour mettre en place une esthétique chromatique où la couleur dépasse le simple symbole pour atteindre à l'abstraction pure, le bleu, le rouge, le jaune jaillissant de l'image filmique de HARTLEY comme d'un tableau expressionniste abstraitHal Hartley, an American film-maker, takes generic structures and turns them into something unique where colour, an essential visual ingredient, is a discourse on parody as well as a discourse on aesthetics. After having summed up the main scientific theories of light and colour, this work deals with the philosophical and aesthetic aspect of colour in general and considers the technical experimentations which gave birth to the first film in colour and the corresponding aesthetic trends. It analyses, through the study of a number of American films in black and white and in colour, chosen for their specific palette, the Gangster, the " Film Noir " and the Western which constitute the basic codes subverted by HAL HARTLEY's postmodernism. Beyond the realistic polychromy, the deconstruction of films aims at exploring the aesthetic power of colour, reaching pure abstraction, the blue, the red and the yellow springing from the moving image as from an Abstract Expressionist painting
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Flôres, Viginia Osorio. "Além dos limites do quadro : o som a partir do cinema moderno". [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284533.
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Orientador: Claudiney Rodrigues CarrascoTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: No cinema, o uso do som fora do quadro visual tem larga experimentação e utilização nas diferentes cinematografias, principalmente a partir do pós-guerra. Com o cinema moderno, a utilização e manipulação antirrealista do som trouxe, para a trilha sonora dos filmes, uma significante contribuição. Esse é o principal foco de interesse do trabalho que percorreu, com a pesquisa, as diferentes utilizações do som desde o cinema clássico até o cinema contemporâneo; investigou as potencialidades do imaginário quando som e imagem visual aparentemente se desvinculam e geram imagens mentais múltiplas e abertas; e buscou compreender como comunicações abertas influenciam a recepção dos filmes. Nossa pesquisa também demonstrou que o som é um elemento importante do audiovisual que contribui para a crítica e a compreensão da vertente estética a que os filmes se vinculam. O conhecimento dos procedimentos usados com o som nos filmes é um horizonte para a compreensão do fazer cinematográfico e para o entendimento de como um processo de autoria se constitui nos cinemas de expressão artística. Durante todo o percurso do trabalho foram usados exemplos de filmes nacionais e internacionais. Para finalizar, quatro filmes da fase contemporânea do cineasta Júlio Bressane serviram de estudo de caso: Miramar, São Jerônimo, Dias de Nietzsche em Turim e Filme de Amor
Abstract: In cinema, offscreen sound has been widely used in different cinematographies, especially after World War II. In modern cinema, the antirealistic use and manipulation of sound have made significant contributions to film scores. This is the main focus of our work, which researches the different uses of sound, from classic to contemporary cinema; investigates the potentialities of the imaginary when sound and visual image are apparently disconnected from each other, creating multiple and open mental images; and seeks to understand how open messages affect the way films are perceived by the receivers. Our study also demonstrates that sound is an important audiovisual element to understand the aesthetic groups to which each film belongs. Understanding the different uses of sound in films is a way to understand filmmaking itself and the process of authorship in art cinema. A wide range of films, from both Brazilian and foreign cinema, is analyzed throughout this research. Four feature films from director Júlio Bressane's contemporary work are used as case studies: Miramar, São Jerônimo, Dias de Nietzsche em Turim e Filme de Amor
Doutorado
Multimeios
Doutora em Multimeios
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Daubresse, Louis. "Esthétique(s) du silence dans le cinéma contemporain : histoire, héritage et discontinuités". Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA132.
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Pris dans son acception la plus large, le silence est un concept polysémique et mobile, tendant à la fois vers l'idée de néant, ou, a contrario, de plénitude. Souvent évoqué et débattu, le silence au cinéma semble toucher un point fondamental du langage audiovisuel. S'il peut être incarné de différentes manières à l'écran, il passe avant tout par une diminution (à défaut d'une disparition complète) de la présence de paroles, de musiques et, plus rarement, de bruits. Présent, plus que jamais auparavant, dans un certain cinéma contemporain, le silence y apparaît en des figures variées, selon différents dispositifs (personnages mutiques, lieux désaffectés, rares paroles dépourvues de sens, étirement des temps faibles du récit). Pour étudier ces figures, il faut d'abord s'interroger, en une approche archéologique, sur les origines du silence cinématographique, sur son parcours esthétique dans le cinéma parlant (notamment dans les films de genre ou dans ceux de la modernité) avant d'en dessiner les enjeux poétiques et politiques dans les fictions contemporaines de Sharunas Bartas, de Pedro Costa, de Béla Tarr ou de Tsaï Ming-liang. Une présence invisible à l’intérieur même de ces films peut enfin être vue, écoutée et révélée. Le silence agit directement sur le rythme de ces films, renforçant l’impression de durée et induisant la sensation de dilatation temporelle. De la même façon, il peut participer à une forme de mélancolie ou de vacuité. Nous pourrons enfin nous demander si le silence implique un refus de l'état des choses, s'il revendique une nouvelle relation au monde et s'il invite à nous projeter vers un temps post-catastrophique où la parole n’aurait plus de sens. Y aurait-il ainsi, au travers de sa mise en scène, une dimension anthropologique, critique et historique du silence ?In its broadest sense, silence is a polysemous and fluctuating concept, tending towards the idea of void and, at the same time, of plenitude. The concept of silence in cinema is frequently mentioned if not discussed, and seems to address a fundamental issue of the audiovisual language. It can be incarnated in different ways on screen, but systematically goes along with a reduction (when not a complete loss) of words, music and more rarely noises. More present than ever in some contemporary cinema, silence is represented by different figures, through different means (silent characters, disused places, rare and bland words, tensionless scenes lengthening). To study these figures, we first have to examine - through an archeological approach - the origins of silence in cinema, its aesthetical evolution in talking movies (especially in genre films and modern films). Then, we will be able to discern the poetical and political issues in the contemporary fictions of Sharunas Bartas, Pedro Costa, Béla Tarr or Tsaï Ming-liang. Therefore, the invisible presence in these films would be seen, listened to, then unveiled. Silence directly acts on the rhythm of these films, strengthening the duration feeling and generating the idea of time dilatation. In the same way it can be responsible for the emergence of some melancholia or vacuity. We will finally be able to wonder if silence implies a resistance in regards to the state of things, if it puts forwards a new relationship to the world and if it invites us to look towards a post-catastrophic time where words would be nothing but bland. Could we find out an anthropological, critical and historical dimension of silence through its dramatization ?
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Cornu, Jean-François. "Le doublage et le sous-titrage des films en France depuis 1931 : contribution à une étude historique et esthétique du cinéma". Rennes 2, 2004. http://www.theses.fr/2004REN20054.
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La généralisation du cinéma parlant au tournant des années 20 et 30 bouleversa la diffusion des films étrangers sur le marché français. Les studios hollywoodiens furent les premiers à envisager plusieurs moyens pour y maintenir leur domination. La première moitié des années 30 vit, en France, la naissance d'une puissante industrie du doublage, à l'ombre de laquelle se développa le sous-titrage. La connaissance des conditions de réalisation d'un doublage ou d'un sous-titrage est essentielle à l'analyse esthétique des versions doublées et sous-titrées de films. Selon l'époque, la technique employée, les pratiques des adaptateurs ou des comédiens, les conséquences esthétiques sont variables. Toutefois, certaines constantes demeurent : substitution partielle ou totale de la bande-son pour le doublage, intervention sur la bande-image pour le sous-titrage. Dans tous les cas, c'est la voix qui subit un traitement particulier. Dans une version doublée, une nouvelle voix est attribuée à un même personnage et se trouve ainsi réincarnée ; dans une version sous-titrée, la voix, visible par le biais du sous-titre, devient imageThe generalisation of talking films in the late 1920s and early 1930s brought about a major change in the distribution of foreign films on the French market. The Hollywood majors led the way in exploring various options in order to maintain their domination on that market. During the first half of the 1930s, a powerful dubbing industry gradually developped in France with subtitling growing on a much smaller scale. Knowing how a dubbed or subtitled version is made is essential to any aesthetic appreciation of a dubbed or subtitled film. The aesthetic implications vary according to the period, the technique and the way translators or actors work. However, some constant features can be outlined : with dubbing, the soundtrack is partly or fully replaced ; with subtitling, the image is altered. Both methods imply a different treatment of the voice. In a dubbed version, a new voice is given to an unchanged character, in a reincarnation process ; in a subtitled version, the voice becomes visible through the subtitle, it becomes an image
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Le, Forestier Laurent. "Aux sources de l'industrie du cinéma : le modèle Pathé, 1905-1908 /". Paris ; Torino ; Budapest [etc.] : [Paris] : l'Harmattan ; Association française de recherche sur l'histoire du cinéma, 2006. http://catalogue.bnf.fr/ark:/12148/cb40982921m.
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Texte remanié de: Thèse de doctorat--UFR de cinéma et audiovisuel--Paris 3, 2000. Titre de soutenance : L'industrialisation du mode de production des films Pathé entre 1905 et 1908.Bibliogr. p. 333-340. Filmogr. p. 341-343. Notes bibliogr. Index.
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Gabriel, Gilbert. "Altered states, altered sounds : an investigation of how 'subjective states' are signifed by the soundtrack in narrative fiction cinema". Thesis, Cardiff University, 2011. http://orca.cf.ac.uk/15238/.
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This thesis develops an approach to analyse how film soundtracks are used to signify characters’ subjective experiences of altered states that may distort or exceed their ordinary experience of reality through dreams, memories, intoxication, etc. Its aim is to contribute to critical audio-visual literacy by using Van Leeuwen’s sound semiotic theory (1999) in conjunction with film sound theory in order to investigate how characters’ subjective experiences of particular states of mind (dreams, memories and flashbacks, intoxication, terror and insanity) are signified in narrative fiction cinema by the soundtrack. Its central questions are: 1. How are sound and music used to signify characters’ subjective experiences and what makes these uses of sound apt signifiers for signifying these states of mind? 2. Is it possible to investigate this issue using a multidisciplinary approach that combines film theory and sound semiotics? This study focuses on how characters’ subjective experiences of altered states are signified by eliminating either atmosphere or realistic sound effects or by the mixture of reality and unreality (e.g. intoxication where voiceovers and music are used to signify characters’ subjective experiences). It will explore how sound semiotics and film sound theory can be used to understand how soundtracks are used to signify filmic characters’ subjective experiences of altered states as well as investigating the most appropriate terminologies and transcription methods that may be used for this purpose. It will also discuss how film directors, such as Hitchcock, have created innovative solutions for conveying subjective modality in cinema.
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Machado, José. "La traduction au cinéma et le processus de sous-titrage de films". Paris 3, 1996. http://www.theses.fr/1997PA030018.
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Dans cette etude de la traduction au cinema en general et du processus de sous-titrage de films en particulier, on definit tout d'abord l'objet specifique de la traduction au cinema au carrefour de la theorie interpretative de la traduction et de la theorie semiologique du cinema. Il s'ensuit un bilan historique de la pratique de la traduction au cinema qui se fonde en grande partie sur les acquis et les donnees de la narratologie et de l'histoire du cinema. Ce travail met en lumiere plusieurs modalites techniques de traduction de films, a savoir : 1. Le boniment, 2. L'intertitrage, 3. Le sous-titrage, 4. Le doublage, 5. Le tournage en versions multiples, 6. L'interpretation simultanee et l'audio-vision. Dans le but de repondre a la question sous-jacente a cette etude ("comment le sujet traduisant fait-il pour sous-titrer un film?"), on procede par la suite au demontage d'un modele en boucle de l'operation de sous-titrage de films. Ce modele qui reprend les quatre paliers mis en evidence par la recherche dans l'explication de l'interpretation de conference et de la traduction de textes (1. La comprehension, 2. La deverbalisation, 3. La reexpression, et 4. La verification) acquiert toute sa specificite a travers les activites relevant de la theorie et de la pratique cinematographiques qui y sont associees (1. L'analyse interpretative du film ; 2. Le decoupage du discours verbal original et le reperage spatio-temporel des sous-titresThis thesis examines film translation in general and the subtitling process in particular. Firstly, the film translator's subject material is defined in light of the interpretative translation and film semiology theories. Secondly, a historical overview of film translation is provided, based on studies in film history and narratology. This reveals several techniques of film translation : 1. Narration 2. Intertitling, 3. Subtitling, 4. Dubbing, 5. Multilingual film-making, and 6. Simultaneous interpreting and aural description. Thirdly, a circular model of the subtitling process is proposed and analysed step by step to answer the following question : how does the translator subtitle a film? this model unites and extends the four stages which have been proposed previously to explain the process of conference interpreting and text translation : 1. Comprehension, 2. Deverbalisation, 3. Re-expression, and 4. Verification. Each stage of this model takes into account the appropriate features specific to cinematographic theory and practice : 1. Interpretative film analysis, 2. Cutting of the original dialogue and or text and subtitle spotting, 3. Condensation, and 4. Automatic rehearsal, synchronisation, expansion and subtitle printing
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Nascimento, Fernanda Gomes do. "A voz em estúdio: o uso audiovisual da dublagem e do diálogo pós-sincronizado no Brasil". Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-01062015-153755/.
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Esta dissertação propõe investigar o uso da Dublagem e do Diálogo Pós-Sincronizado no mercado brasileiro, além de traçar comparações de seu uso em outros países. O estudo se apoia em três aspectos: definição e ideologias de utilização, técnicas empregadas e panorama histórico de aplicação em produtos audiovisuais.This thesis proposes to analyses the application of Dubbing and ADR techniques in Brazilian Cinema and Television Market, as well as stablishing comparisons in between applications of the same technique in other countries. The research has three points of view: word definition and ideologies of its application, technical aspects of the practice in Brazil and a historical panorama of Dubbing and ADR uses in Motion Pictures.
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Frisvold, Hanssen Eirik. "Early Discourses on Colour and Cinema : Origins, Functions, Meanings". Doctoral thesis, Stockholms universitet, Filmvetenskapliga institutionen, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-1261.
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This dissertation is a historical and theoretical study of a number of discourses examining colour and cinema during the period 1909 to 1935 (trade press, film reviews, publications on film technology, manuals, catalogues and theoretical texts from the era). In this study, colour in cinema is considered as producing a number of aesthetic and representational questions which are contextualised historically; problems and qualities specifically associated with colour film are examined in terms of an interrelationship between historical, technical, industrial, and stylistic factors, as well as specific contemporary conceptions of cinema. The first chapter examines notions concerning the technical, material, as well as perceptual, origins of colour in cinema, and questions concerning indexicality, iconicity, and colour reproduction, through focusing on the relationship between the photographic colour process Kinemacolor, as well as other similar processes, and the established non-photographic colour methods during the early 1910s, with an in-depth analysis of the Catalogue of Kinemacolor Film Subjects, published in 1912. The second chapter examines notions concerning the stylistic, formal and narrative functions of colour in cinema, featuring a survey of the recurring comparisons between colour and sound, found in the writing of film history, in discourses concerning early Technicolor sound films, film technology, experimental films and experiments on synaesthesia during the 1920s, as well as Eisenstein’s notions of the functions of colour in sound film montage. The third chapter examines the question of colour and meaning in cinema through considering the relationship between colours and objects in colour film images (polychrome and monochrome, photographic and non-photographic) during the time frame of this study.
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Castanheira, José Cláudio Siqueira. "A paisagem sonora eletrônica: a construção de novas audibilidades no cinema". Universidade do Estado do Rio de Janeiro, 2010. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=4940.
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Novas tecnologias, entendidas como parte integrante dos ambientes midiáticos contemporâneos, ajudam a conformar novos modelos perceptivos. O surgimento e a proliferação de tecnologias de síntese e de modelagem de sons por meios eletrônicos recria a relação entre o espaço presente no filme e as referências significantes que possuímos desse espaço. Os sons destacam-se dos objetos empíricos, alargando o campo de significações e de afetações sensoriais. Ao criar novas relações entre o corpo do espectador e uma inédita paisagem sonora eletrônica, novas tecnologias de som, como parte de um processo mais amplo das mídias, demandam um maior envolvimento da plateia. Dispositivos de imersão, efeitos especiais, uma nova distribuição espacial do ambiente sonoro, maior fidelidade e potência, reproduzem o encantamento físico despertado pelos primeiros cinemas. Para analisar o surgimento de novas audibilidades, novas formas de investigar o mundo a partir dessas tecnologias e dessa atual paisagem sonora, este trabalho procura uma abordagem tríplice. Inicialmente, procuramos fazer uma descrição de cunho fenomenológico da experiência cinematográfica. Em seguida, utilizamos propostas da Teoria das Materialidades para falar das afetações físicas induzidas pelo espaço sonoro eletrônico. Por último, utilizamos a perspectiva das ciências cognitivas que nos diz que corpo, cérebro e ambiente neste caso um ambiente extremamente tecnológico fazem parte de um mesmo processo dinâmicoNew technologies, understood as an integral part of contemporary media environment, help to shape new models of perception. The emergence and proliferation of technologies of synthesis and modeling of sounds by electronic means recreates the relationship between the space in the film and the significant references that we have of that space. The sounds are detached from empirical objects, extending the field of signification and sensorial affectations. When creating new relationships between the body of the spectator and an unprecedented electronic soundscape, new sound technologies, as part of a wider process of media, demand a greater involvement of the audience. Immersion devices, special effects, a new spatial distribution of the sound, greater fidelity and power, they reproduce the physical enchantment generated by the first cinemas. To analyze the emergence of new audibilities, new ways to investigate the world from these technologies and this actual soundscape, this work seeks a threefold approach. Initially, we try to make a phenomenological description of the cinematic experience. Then we use Materiality Theory proposals to deal with the physical affectations induced by electronic soundscape. Finally, we use the perspective of cognitive science which tells us that body, brain and environment in this case an extremely technological one are part of the same dynamic process
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Ceretta, Fernanda Manzo. "O design de som de monstros do cinema: uma cartografia dos processos de criação de identidades sonoras na construção de personagens". Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21201.
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Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
This research analyzes the sound design of movie monsters, especially their voices. Chewbacca (Star Wars, 1977), Godzilla (1954) and Predator (1987) constitute our corpus. These monsters have voices composed by designers who have experimented different creation processes, using sounds generated by nature, body and manipulated objects, in order to create the sound identity of these characters. We investigate the contexts of these creation processes and the resulting sounds in their particularities to make a proposition of a method for creating the sound of monsters. Our method covers the potential sources of base sounds and other sonic characteristics such as frequencies, timbre and intensity. The research was based in the observation of the selected audio-visual materials and in the documentation available regarding the making ofs (which is vast, given the popularity of the selected monsters). The thesis is based mainly on articulations with the works of Rick Altman, Michel Chion and William Whittington, on the cinematographic sound, and of Theo Van Leeuwen in his proposition of sonorous analysis
Este trabalho analisa o sound design de monstros do cinema, sobretudo suas vozes. Chewbacca (Star Wars, 1977), Godzilla (1954) e Predador (1987) constituem o corpus da presente pesquisa. Estes monstros possuem vozes compostas por designers que experimentaram diferentes processos de criação, utilizando sons na natureza, do corpo e de objetos manipulados para criar a identidade sonora destas personagens. investigamos os contextos destes processos de criação e os sons criados, em suas particularidades, para compor uma proposta de método de composição de som de monstros, o qual abarca as potenciais fontes dos sons de base e demais características sonoras, como frequências, timbres e intensidade. A pesquisa foi feita a partir da observação dos materiais audiovisuais selecionados e do resgate da documentação disponível sobre os bastidores da criação dos mesmos (bastante vasta dada a popularidade dos monstros selecionados). A tese se baseia sobretudo em articulações com obras de Rick Altman, Michel Chion, William Whittington acerca do som cinematográfico e em Theo Van Leeuwen em sua proposição de análise sonora
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Terezani, João Henrique Tellaroli. "Ouvindo vazios : os silêncios em A erva do rato e Cleópatra de Júlio Bressane". Universidade Federal de São Carlos, 2014. https://repositorio.ufscar.br/handle/ufscar/7408.
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Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
This work aims to discuss the representation of silence in films. Our objects of study are the films Cleópatra and A erva do rato both by Julio Bressane, since the phenomenon of silence emerges as a recurring theme in the style of this director. The analyzes found in this work focus on the discussion of the phenomenon linked to its discursive, and its physical appearance, and also about its manifestations in artistic fields like music, poetry and cinema. To do so, we had as main references studies of Paul Théberge, Fernando Morais da Costa, Virginia Flores about the sound in cinema, John Cage, Susan Sontag, José Miguel and Jorge Antunes Wisnik on the representativeness of silence for the arts in general.
Essa dissertação tem como objetivo discutir a representação do silêncio pelo cinema, tendo como objeto de estudo os filmes Cleópatra e A erva do rato de Julio Bressane, uma vez que o fenômeno desponta como um recurso recorrente dentro do estilo deste diretor. As análises encontradas neste trabalho concentram-se na discussão acerca dos conceitos atrelados ao fenômeno do silêncio discursivo, físico e de suas manifestações nos campos artísticos como a música, a poesia e o cinema, sendo este último o ponto nodal de nossa discussão. Para tanto, tivemos como principais referências os estudos de Paul Thebérge, Fernando Morais da Costa, Virgínia Flores acerca do som no cinema, John Cage, Susan Sontag, José Miguel Wisnik e Jorge Antunes sobre a representatividade do silêncio pelas artes em geral.
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Pereira, Kira Santos. "Se podes ouvir, escuta: a gênese audiovisual de Ensaios Sobre a Cegueira". Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/27/27153/tde-17022011-145400/.
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A dissertação procede a uma investigação do processo de criação do filme Ensaio Sobre a Cegueira, através de entrevistas e recuperação de material memorial dos membros da equipe. Os materiais foram analisados segundo a metodologia da Crítica de Processos como proposto por Cecília Salles. São abordadas também as relações audiovisuais das várias versões de filme, seguindo os preceitos propostos por Michel Chion, Robert Bresson e Randy Thom. O objetivo do trabalho é elucidar procedimentos que favoreçam uma construção audiovisual onde o som participe ativamente da narrativa.The thesis investigates the creation process of the movie Blindness, through interviews memorial materials of the film crew. For that purpose, the methodology of the Criticism of Processes as proposed by Cecília Salles was used. It also boards the audiovisual relations of various versions of the movie, following the precepts proposed by Michel Chion, Robert Bresson and Randy Thom. The thesis aims to elucidate ways of audiovisual construction where sound participates actively in narrative.
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Leão, Carolina Morgado 1986. "A trilha musical do cartoon no período clássico do cinema". [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284495.
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Orientador: Claudiney Rodrigues CarrascoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Desde os primórdios do que entendemos hoje como cinema, já se fazia uso de intervenções sonoras. O acompanhamento musical era normalmente executado ao vivo, através de um pianista, um improvisador ou, as vezes, por uma pequena orquestra. Com o passar das décadas, o som para animação foi se transformando e assim, cada vez mais atrelou-se às imagens, se fundindo e unificando. Já na década de 1930, os desenhos animados formam um poderoso elo com a música, produzindo com isso, uma gama de cartoons musicados. Deste momento em diante, a trilha musical recebe a função de narrativa, sua articulação com a imagem cria um significado e possibilita a compreensão do espectador na história. A compreensão do som está associada ao acordo que existe entre o emissor e o espectador, quando este, em uma exibição, entra na sala para "ver-ouvir" uma história contada. O alicerce preeminente na projeção é a narrativa. Portanto, a trilha sonora, através do sincronismo, do seu uso de forma poética e também, através do uso de sons que de certa forma, já estão na memória de toda a sociedade ocidental, integra a articulação e a organização da narrativa na animação, compondo assim, um elemento de sua montagem. E desta maneira, a percepção fílmica é de fato audio-visual e permite numerosas combinações entre sons e imagens animadas
Abstract: Interventions with sounds are used since the beginning of what is known today as film. The music was performed live by a pianist, improviser or sometimes by a small orchestra. Over the decades, animation sound changed and became increasingly harnessed viii to the images, merging and unifying. Already in the 1930s, the cartoons are a powerful link with music, thus producing a range of cartoons set to music. From this moment on, the soundtrack gets the role of narrative, its articulation with the image creates meaning and allows the viewer to understand the story. Understanding of sound is associated with agreement that exists between the issuing and the spectator, when, in a view into the room to "see-hear" a story telling. The foundation is preeminent in projecting the narrative. Therefore, the soundtrack through the synchronization, the use of poetic form and also, through the use of sounds that somehow are already in the memory of all Western society integrates the speech and organization of narrative in animation, thus composing an element of its assembly. Sooner, the filmic perception is indeed audio-visual and allows numerous combinations of sounds and visual images
Mestrado
Fundamentos Teoricos
Mestra em Música
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Reiner, Gabrielle. "Persistances, actualités et dynamiques du noir et blanc au cinéma dans les arts filmiques (1990-2010)". Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030045/document.
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Travailler le noir et blanc au cinéma sous-entend une alternative temporelle qui s’inscrit à l’image par une absence de couleur mimétique. C’est un cinéma qui a priori puise aux sources d'un passé revendiqué visuellement. Pourquoi et dans quelles intentions certains cinéastes persistent-ils à utiliser le noir et blanc alors que l’évolution historique du média invite à utiliser la couleur ? Comment ce choix à contre-courant permet-il de penser l'histoire du média ? Quels en sont les enjeux matériels, esthétiques et réflexifs ? Existe-t-il des styles du noir et blanc ancrés dans le présent, sans références techniques et plastiques à une histoire univoque des formes ? À une époque de domination économique de la couleur, réaliser des films en noir et blanc serait-il porteur d’une réflexion critique sur les procédés cinématographiques actuels et sur l’industrie qui les impose ? Bien loin d’une bichromie passéiste, en quoi, pourquoi et comment d’autres noir et blanc deviennent-ils des outils de prédilection pour établir l’état des lieux d’une plasticité critique de la représentation de l’industrie audiovisuelle ?Nous verrons qu’en optant pour le noir et blanc, la palette chromatique construit un espace propice à un cinéma différent en rupture avec les conventions du réalisme audiovisuel. Ce cinéma différent « réfléchit » le noir et blanc qui devient une source d’expériences holistiques à l’origine d’un redéploiement élargi du cinéma comme geste et art plastique fondateurs. Ce Doctorat en cartographie et en analyse la richesse et la diversitéTo work on cinematographic black and white is to enter an alternative temporality that incarnates itself on screen through an absence of mimetic colors. It is in theory a cinema rooted in the past and reclaiming it visually. Why do certain filmmakers persist in using black and white instead of following the course of evolution towards color ? Why do they reject the evolution of techniques ? How do they reflect on it, build new technical and esthetical frames ? Are there any styles of black and white which fully belong to the present and don't refer to past techniques and aesthetics ?In a time when color holds an economic supremacy on cinema, black and white films offer a form of technical criticism on the domination of an industry. Far from an bichromic old fashioned, why and how does others black and white become instruments of a new critical esthetics against industrial audiovisual representation ?Chosing black and white allows for a new, different cinema to break with the conventions of realism. This different cinema « reflects » on black and white, transcending it through holistic experiences, synesthetic and cognitive, redefining cinema as a broader act of creative art. This PhD attempts to map and analyse its richness and diversity
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Denizart, Jean-Michel. "L'émergence des significations chez le monteur son, au cours de la recherche et de la sélection des sons : une approche communicationnelle et cognitive". Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0303.
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Il y a plusieurs années, le département SATIS de l'Université d'Aix-Marseille ainsi que le laboratoire ASTRAM ont entamé le développement d’une sonothèque en ligne intitulée « Sons du Sud ». Cette base de données sonores est destinée aux professionnels du son dans les secteurs du cinéma et de l'audiovisuel et, plus particulièrement encore, aux monteurs son. L’objectif à présent est de développer pour Sons du Sud une nouvelle méthode d’indexation en rupture avec les logiques d’indexation causales les plus largement répandues. En effet, dans la perspective d’une exploitation filmique, il apparaît qu’un son n’est que rarement choisi sur la base de critères exclusivement en lien avec son origine ou ses propriétés acoustiques, mais aussi en vertu des significations potentielles que celui-ci est à même de revêtir au contact des autres matières de l’expression filmique, des fonctions qu’il est susceptible de remplir, des liens qu’il entretient avec ce que le film exprime, etc. On peut alors se demander si ce n’est pas plutôt ce « potentiel d’informations » que les descripteurs sémantiques utilisés par les sonothèques actuelles devraient essayer d’expliciter. C’est pourquoi la présente thèse se positionne comme une étape de travail préliminaire à l’élaboration d’une nouvelle méthode d’indexation : afin de répondre aux exigences de la sonothèque Sons du Sud, il semble indispensable d’entièrement nous consacrer à une meilleure appréhension des facteurs contribuant à modifier le « système de pertinences » de son principal usager, en examinant plus avant ce qui guide sa démarche, polarise son écoute et influence ses actions au cours de la recherche et de la sélection des sonsSeveral years ago, the SATIS department of the University of Aix-Marseille and the ASTRAM laboratory initiated the development of an online sound library entitled "Sons du Sud". This sound database is intended for sound professionals and more specifically, sound editors, in the film and audiovisual sectors. The current objective is to develop a new indexing method of sound for Sons du Sud breaking with the logic of causal indexation most widely used. Indeed, it appears that, from the perspective of a filmic exploitation, a sound is rarely selected based on criteria exclusively related to its acoustic origin but also related to the potential meanings it is able to take on with the other materials of filmic expression, the functions it is likely to fulfill, the links it maintains with what the film expresses, and so on. We can then ask ourselves if it is not rather this "information potential" which the semantic descriptors used by the current sound libraries should try to make explicit. Therefore, this thesis is a preliminary step in the development of a new indexing method: in order to meet the requirements of Sons du Sud sound library, it seems essential to devote ourselves entirely to a better understanding of the contributing factors that change the "system of relevance" of its main users, to examine further what guides their approach, polarizes their listening and influences their searches and selections
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Motts, J. "Listening Beyond the Image: Toward a Trans-Sensory Cinema". Miami University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=miami1501099367573869.
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Guimarães, Clotilde Borges. "A introdução do som direto no cinema documentário brasileiro na década de 1960". Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27153/tde-24042009-154141/.
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Esta dissertação tem como objetivo pesquisar como se deu a introdução no Brasil da técnica de gravação de som sincrônico para o cinema (som direto) com equipamento leve, no começo dos anos 1960, além de estudar como esta nova técnica influenciou a linguagem dos documentários brasileiros. Para isso foram realizadas pesquisas bibliográficas, entrevistas e análises de filmes do período. A pesquisa enfatiza o contexto histórico no qual se insere o uso do som direto. Na análise dos filmes são empregados os conceitos de monologia e dialogia, concebidos por Mikhail Bakhtin, para designar a forma como é usado o registro de outras vozes obtidas através do som direto. É também apresentada a evolução da formação dos profissionais da área de som cinematográfico ao longo da história do cinema brasileiro.The aim of this dissertation is to do research on how it has occured the introduction of the technique of the synchronic sound recording into the cinema (direct sound), using light equipment, in the beginning of the 1960s. Furthermore, this research has also studied how this new technique has influenced the Brazilian documentary language. In order to identify so, some bibliographic research, interviews and films analysis have been done about the period. The research emphasises the historical context in wich the use of the the direct sound is inserted. The concepts of monology and dialogy, conceived by Mikhail Bakhtin, are applied in the analysis of the films, to point out the way how the registration of other voices, gotten through the direct sound, is used. Finally, the evolution of the education of the professionals in the sound of cinematography area is also presented, throughout the history of the Brazilian cinema.
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Stober, JoAnne. "That's not what I heard, synchronized sound cinema in Montreal, 1926-1931". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ64013.pdf.
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Oliveira, Thaís Rodrigues. "Escuta vibrátil". Universidade Federal de Goiás, 2014. http://repositorio.bc.ufg.br/tede/handle/tede/8272.
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An increasing recurrence of the image study has arose from researches attentive to the problematical that involves themes like culture and society. We are “imgetic” beings and the contemporary society of consumption has powered the sense of vision in our daily life. However, there are few researches that use the sound and its relation to what is called “visual culture”. From the perspective of the cultural studies and of the visual culture, the aim of this paper is to identify a possible “audible” culture and how identitary souding meanings can be stimulated in the spectator / listener of the audiovisual material. Based on the souding vocabulary of an investigation concerning to the sound produced internment by the human body, this research seeks the conception of a practical work with the use of these images and sounds not common to our daily life.
Uma crescente recorrência ao estudo das imagem tem emergido de pesquisas atentas às problemáticas que envolvem temas como cultura e sociedade. Somos seres ‘imagéticos’ e a sociedade de consumo contemporânea há muito tempo tem potencializado o sentido da visão em nosso cotidiano. Contudo, ainda são poucos os trabalhos que utilizam o som e sua relação com a chamada “cultura visual”. A partir de uma perspectiva dos estudos culturais e da cultura visual, pretendo identificar uma possível cultura “audível” e como significações sonoras identitárias podem ser estimuladas no espectador/ouvinte do material audiovisual. Baseada no vocabulário sonoro de uma investigação acerca dos ruídos produzidos internamente pelo corpo humano, essa pesquisa visa a concepção de um trabalho prático com usos dessas imagens e sons incomuns ao nosso cotidiano.
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Kassel, Elena von. "Poésie et sciences sociales, sources du documentaire anglais des années 1930-1950 : l'exemple de Humphrey Jennings". Paris 10, 2003. http://www.theses.fr/2003PA100074.
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L'introduction discute de l'oeuvre de Humphrey Jennings (1907-1950), les ouvrages le concernant, et sa méconnaissance relative en France. La première partie évoque la vie de Jennings, ses engagements artistiques et littéraires, y compris dans le surréalisme anglais, la fondation de Mass Observation et son oeuvre sur la révolution industrielle, Pandaemonium. La seconde partie traite de Jennings cinéaste, en commençant par une courte histoire du mouvement documentaire britannique et les premières expériences de Jennings au cinéma. Quand la Seconde Guerre mondiale éclate, Jennings s'engage totalement en réalisant des films de propagande. Mais, s'inspirant de la tradition anglaise, ses documentaires poétiques touchent profondément les peuples et remontent leur moral ; ils demeurent aujourd'hui l'un des témoignages les plus émouvants de cette époque. Suivent des analyses détaillées des films. Jennings est mort accidentellement en 1950, mais son travail d'après guerre est contesté. Certains pensent même que l'ensemble de son oeuvre n'a qu'un intérêt circonstanciel. Notre thèse montre que l'on en est loin et que l'oeuvre de Jennings poète peintre et cinéaste est une oeuvre inestimableThe introduction focuses on Humphrey Jennings' (1907-1950) accomplishments, and what studies have been done on him, and how he is relatively unknown in France. The first part evokes Jennings' life, his literary and artistic engagements, including the crucial roles he played in the British surrealist movement, the founding of Mass Observation and his compilation on the Industrial Revolution, Pandaemonium. The second part is about Jennings the filmmaker. It begins with a short history of the British documentary film movement and Jennings' first films. With the outbreak of the Second World War, Jennings devoted himself to making propaganda films. Drawing from British tradition, these poetic documentaries had a profound effect on civilians and raised their moral. Today, they remain the most moving and true accounts of that time. Detailed analysis of these films follow. Jennings died accidentally in 1950. But his work is underrated. Some critics even believing his reputation to depend solely on the exceptional circumstances of the war. This thesis assumes the total of Jennings' work as poet, painter and filmmaker in order to establish his place as major artist of the twentieth century
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Réra, Nathan. "Rwanda, de l'archive à la représentation : La photographie et le cinéma à l'épreuve du génocide des Tutsi (1994-2012)". Thesis, Aix-Marseille, 2012. http://www.theses.fr/2012AIXM3081.
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Au Rwanda, d'avril à juillet 1994, les photographes et les cameramen des agences d'information internationales eurent de grandes difficultés à documenter le génocide des Tutsi, recouvert par la guerre civile entre les Forces armées rwandaises et le Front patriotique rwandais et par l'exil massif des civils Hutu dans les camps de réfugiés des pays voisins. Les reporters rencontrèrent de nombreux obstacles pour prendre, envoyer et diffuser leurs images en Occident : avaries techniques, censure militaire et politique, relative indifférence des rédactions, etc. Après l'événement, quelques photojournalistes et cameramen décidèrent de rompre avec le système des mass-médias. Ils ont ainsi entamé une déconstruction de leurs images par la représentation artistique, plus apte à incarner le génocide et à rendre au spectateur l'autonomie de son regard. En parallèle, d'autres artistes ont entrepris d'élaborer la mémoire du génocide des Tutsi, recueillant les visages et les témoignages des rescapés et des génocidaires, filmant ou photographiant les sites de l'extermination devenus mémoriaux. En l'espace de dix-huit années, la somme des représentations du génocide des Tutsi est donc conséquente. S'inscrivant dans une histoire visuelle dont la Shoah constitue le paradigme, ces œuvres entendent poser les jalons d'une réflexion historique, politique et esthétique sur l'extermination des Tutsi et ses conséquences dans la société rwandaise post-génocideIn Rwanda, from April to July 1994, photographers and cameramen from international news agencies had big difficulties to document the genocide of the Tutsi, blurred by the civil war between the Armed Forces of Rwanda and the Rwandan Patriotic Front, and by the exile of the Hutu civilians in the refugee camps of the neighboring countries. Reporters found many impediments on their road, to take, to send and to spread their images in the Western world : technical damages, military and political censoring, lack of interest from editors, etc. Soon after the event, some photojournalists and cameramen decided to break with the mass-media system. They began to deconstruct their images by artistic representation, more suited to incarnate the genocide and to help the viewer recover the primacy of his look. Concurrently, other artists undertook to elaborate the memory of the genocide, collecting faces and testimonies of survivors and perpetrators, filming or photographing the places of the killings that became memorials. Within 18 years, the amount of artistic representations of the Tutsi genocide is important. Placed in a visual history which paradigm is the destruction of the Jews, these works show the way of a historical, political and aesthetical reflection on the extermination of the Tutsi and its consequences in the Rwandan society after the genocide