Letteratura scientifica selezionata sul tema "Music and cinema"
Cita una fonte nei formati APA, MLA, Chicago, Harvard e in molti altri stili
Consulta la lista di attuali articoli, libri, tesi, atti di convegni e altre fonti scientifiche attinenti al tema "Music and cinema".
Accanto a ogni fonte nell'elenco di riferimenti c'è un pulsante "Aggiungi alla bibliografia". Premilo e genereremo automaticamente la citazione bibliografica dell'opera scelta nello stile citazionale di cui hai bisogno: APA, MLA, Harvard, Chicago, Vancouver ecc.
Puoi anche scaricare il testo completo della pubblicazione scientifica nel formato .pdf e leggere online l'abstract (il sommario) dell'opera se è presente nei metadati.
Articoli di riviste sul tema "Music and cinema":
1
Allan, Blaine. "Musical Cinema, Music Video, Music Television". Film Quarterly 43, n. 3 (1990): 2–14. http://dx.doi.org/10.2307/1212631.
2
Allan, Blaine. "Musical Cinema, Music Video, Music Television". Film Quarterly 43, n. 3 (aprile 1990): 2–14. http://dx.doi.org/10.1525/fq.1990.43.3.04a00020.
3
Hubbert, Julia Bess. "Music and Cinema (review)". Notes 58, n. 2 (2001): 337–39. http://dx.doi.org/10.1353/not.2001.0202.
4
Powrie, Phil. "Music in French cinema". French Screen Studies 20, n. 3-4 (1 ottobre 2020): 151–57. http://dx.doi.org/10.1080/26438941.2020.1744342.
5
Humfrey, Peter, John G. Bernasconi, John Rosselli, Zygmunt G. Barański e Robert Gordon. "ART, MUSIC & CINEMA". Italian Studies 48, n. 1 (gennaio 1993): 125–32. http://dx.doi.org/10.1179/its.1993.48.1.125.
6
Rain, B. "RELEVANCE OF CLASSICAL MUSIC IN CINEMA MUSIC". International Journal of Research -GRANTHAALAYAH 3, n. 1SE (31 gennaio 2015): 1–2. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3465.
Abstract (sommario):
Indian scholars have considered music to be a divine voice. This entire universe is subject to nad, and nad is called Brahm, because nad is everywhere. This entire universe is foolish. Naad is composed of Brahman, Brahman with word, word by sentence and sentence by song, so it can be said that Naad is the soul of music.Harsh, gaiety, zeal, it is the makeup of a person's life, when the person becomes weak by getting entangled in social bonds or problems, then the arts in which the work of replenishing power and passion is there, they are called fine arts and fine arts. Music is considered to be the highest in the world. It would not be an exaggeration to say that man and music have an integral relationship.
भारतीय विद्वानों ने संगीत को ईष्वरीय वाणी माना है। यह समस्त सृष्टि, नाद के अधीन है तथा नाद को ब्रह्म कहा गया है, क्योंकि नाद सर्वत्र व्याप्त है। यह सम्पूर्ण ब्रह्माण्ड ही नादमय है। नाद से ब्रह्म, ब्रह्म से शब्द, शब्द से वाक्य तथा वाक्य से गीत बनता है, अतः यह कहा जा सकता है कि नाद संगीत का प्राण है।हर्ष, उल्लास, उमंग, यह व्यक्ति के जीवन का श्रृंगार है, जब व्यक्ति सामाजिक बंधनों अथवा समस्याओं में उलझकर कमजोर होने लगता है, तब उसमें पुनः शक्ति तथा जोष भरने का कार्य जिन कलाओं में है, उन्हें ललित कलायें कहा जाता है और ललित कलाओं में संगीत का स्थान सर्वोच्च माना जाता है। यह कहना अतिष्योक्ति नहीं होगा कि मनुष्य तथा संगीत का अभिन्न सम्बन्ध है।8
7
Yunyk, Tetiana, e Mykola Tsarev. "Soundtrack in Modern Cinema". Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, n. 1 (30 giugno 2021): 67–77. http://dx.doi.org/10.31866/2617-2674.4.1.2021.235086.
Abstract (sommario):
The purpose of the research is to analyze popular examples of modern cinema music to determine the features of its interaction with various elements of screen text, taking into account the applied nature and applying various relevant approaches to the study of soundtracks. The research methodology consists in the application of a set of methods for theoretical analysis of film music, their interaction with internal and external factors of influence on the formation of the viewer’s image-emotional sphere in conditions of purposeful perception of the storyline of modern cinema. The scientific novelty lies in the fact that for the first time the peculiarities of the music functioning in modern cinema were analyzed, the main trends in the development of film music in the socio-cultural conditions of our time were revealed, and film music from the perspective of the viewer as a “non-ideal” evaluator of soundtracks in modern cinema was also considered. Conclusions. The article, using various methodological approaches, has proved that film music in the framework of interaction with screen text manifests itself as a significant tool, expanding the artistic space of the film. Film music can go beyond direct acoustic information, reflecting the narrative and conceptual components of the work of art as a whole. A practical example of the manifestation of modern film music is the use of timbral colours as an instrument for revealing the context of events, time, and the image of a hero; leitmotif; experiments with the technical side of sound through the expansion of the imaginary space of the screen. The main trends in the development of film music in the socio-cultural conditions of our time are due to the release of soundtracks beyond the boundaries of a practical film instrument. The modern soundtrack occupies a significant part of the cultural space of music and culture in general. This position is facilitated by the composer’s conceptual approach, the style integrity of the work and the relative independence of the soundtrack in the general cultural space. The rating of soundtracks is given by the audience and depends on their aesthetic preferences and the level of musical “experience”. Soundtracks must meet the requirements of modern cinema and common cultural space, which contributes to the success of the film.
8
Humfrey, Peter, Michael Bury, John G. Bernasconi, Iain Fenlon, Bojan Bujic, Christopher Cairns, Cecil H. Clough, Kate Flint e Philip Cooke. "ARCHITECTURE, ART, MUSIC & CINEMA". Italian Studies 49, n. 1 (gennaio 1994): 146–56. http://dx.doi.org/10.1179/its.1994.49.1.146.
9
Aditama, Muhammad Reza. "BIOSKOP DAN MASYARAKAT KOTA PALU, 1950-1998". Manaqib: Jurnal Sejarah Peradaban Islam dan Humaniora 1, n. 1 (7 dicembre 2022): 57–75. http://dx.doi.org/10.24239/manaqib.v1i1.1199.
Abstract (sommario):
This article aims to answer the following 3 questions: 1) How is the development of cinema in Palu City?; 2) How is the influence of cinema on the people of Palu City?; and 3) Why does the presence of cinema produce a new cultural identity in the people of Palu City? The problems in this article are solved using historical methodologies and anthropological approaches. The results of this study indicate that: 1) In the period between 1951-1990 the development of cinema was only in the form of an increase in number, then in 1991 there was one cinema that was different from previous cinemas so that it could create a discourse on traditional and modern cinema and the difference was the shape of the building, facilities, and film distribution network. However, without distinguishing between traditional and modern cinemas, all of them stopped operating at the end of 2000 because there were so many alternative media for film screenings; 2) Cinema as popular culture can increase and have an influence on the consumption of fashion, music, and especially films to the behavior of the people in Palu City; 3) Cinema, in the process of presenting a new cultural identity there are several phases in certain periods in society, namely initially only as popular culture (1951–1989), the second learning space (1984–1998), the third non-privacy space (1990–2000), then these three things become markers that cinema, which is only space, can form a new cultural identity in society.
10
Saini, Aarti. "Role of film music in the development of music in global perspective". RESEARCH REVIEW International Journal of Multidisciplinary 7, n. 5 (16 maggio 2022): 158–61. http://dx.doi.org/10.31305/rrijm.2022.v07.i05.023.
Abstract (sommario):
Music is making its identity in the whole world today and international music conferences are also being organized at different places globally. Music is a medium of dissemination of cinema, civilization and culture. Music and film (cinema) have become a very powerful medium of global dissemination and promotion of Indian civilization and culture in the present times. Because we get glimpses of Indian identity in cinema and film music is very much liked in foreign countries. The concept of Indian civilization and culture is incomplete without music. Cinema is working as a bridge between our culture and foreign culture. Cinema is the carrier of brotherhood and universal brotherhood. To establish dialogue with world culture, Chitrapat has made immense efforts to display Indian cultural values and diversity on the international platform. Because of all the forms of entertainment in human history, film music is the pinnacle of them all. And by transcending the boundaries of the drama genre, cinema can accurately capture unimaginable cinematography. Movies like Avatar, Robot, Titanic present a very perfect example of this. Camera and imagination are amazing in these films.
Abstract in Hindi Language:
संगीत आज पूरे विश्व में अपनी पहचान बनाये हुए है और विश्व स्तर पर जगह जगह अंतर्राष्ट्रीय संगीत सम्मेलनों का आयोजन भी हो रहा है। संगीत सिनेमा, सभ्यता एवं संस्कृति के प्रसार का एक माध्यम संगीत है। संगीत और चित्रपट (सिनेमा) भारतीय सभ्यता एवं संस्कृति तीनों के ही वैश्विक प्रसार एवं प्रचार का वर्तमान समय में एक बहुत ही सशक्त माध्यम बन गया है। क्योंकि भारतीय अस्मिता की झलकिया हमें चित्रपट (सिनेमा) में मिलती है ओर चित्रपट संगीत को विदेशों में बहुत पसंद किया जाता है। भारतीय सभ्यता और संस्कृति की अवधारणा संगीत के बिना अधूरी है। हमारी संस्कृति और विदेशी संस्कृति के बीच चित्रपट (सिनेमा) एक सेतु का कम कर रहा है। चित्रपट भाईचारों और विश्व बंधुत्व का सवाहक है। विश्व संस्कृति से संवाद स्थापित करने के लिए चित्रपट ने अंतर्राष्ट्रीय मंच पर भारतीय संस्कृतिक मूल्यों एवं विविधता को प्रदर्शित करने का असीम प्रयास किया है। क्योंकि मानव इतिहास में मनोरंजन के सभी साधनों में चित्रपट संगीत उन सब से चरम उत्कर्ष है। और नाटक विधा की सीमाओं को लांघकर सिनेमा सटीक कल्पनातीत चलचित्रांकन कर सकता है। अवतार, रोबोट, टायटनिक जैसी फिल्मे इसका बहुत सटीक उदाहरण प्रस्तुत करती है। इन फिल्मों में कैमरा और कल्पनाओं का कमाल है।
Keywords: संगीत, सिनेमा, सभ्यता, संस्कृति
Tesi sul tema "Music and cinema":
1
Trainer, Adam. "Rock'n'roll cinema". Thesis, Trainer, Adam (2005) Rock'n'roll cinema. PhD thesis, Murdoch University, 2005. https://researchrepository.murdoch.edu.au/id/eprint/364/.
Abstract (sommario):
Popular music and film are separate media, framed by specific discourses, histories of distribution and reception, semiotic relationships and literacies. Through these divergent manifestations and ideologies nodes of convergence exist. At moments of connection, new and innovative textual and contextual possibilities emerge, transforming the ways in which audiences both engage and read these media. Whilst often driven by capitalist goals, both popular music and film capture and tether personal expression and collective memory. Through these processes of signification, popular cultural texts belonging to both media forms are able to resist their commodified origins to inform and construct both collective and individual identities.
This thesis charts the movement of popular music across cinema. Rock'n'Roll is utilized not only as an amalgam of texts made up of sounds and images, but also as a critical and interpretative apparatus through which specific cultural identities are configured. This work is concerned with various manifestations of political resistance in popular culture, and the ways in which this resistance is moderated through cultural commodification. Using an interdisciplinary approach - converging film analysis, popular music studies and music journalism - this thesis constructs an ideological framework through which film and popular music can be aligned, and through which this alignment can be researched.
Through an engagement with myriad cinematic and popular cultural texts, executed through interdisciplinary methods, this thesis establishes a theoretical framework for understanding and analyzing the convergence of popular music and cinema. Its original contribution to knowledge is an evaluation of the ways in which these media are changed through their alignment and how they inform each other both structurally, as tangible manifestations of specific media codes and structures, and politically, in the ideological embodiment of particular identities and representational realities. This goal is achieved through the selection of specific research materials, especially those which have not been subject to detailed investigation in other scholarly studies. Specific filmic and musical texts are discussed because they embody the aesthetic and political synergy of these two media forms as well as demonstrating the cultural processes through which this synergy is enacted.
This thesis offers interdisciplinary dialogue as a valid strategy to understand the processes involved in the creation and reception of texts which are cinematic in nature but utilize the language and discourse of popular music. The textual and contextual manifestations of this process are a primary concern. Emphasis is placed on the implications for film form in terms of the structure of texts and their existence within specific genres, the shifting position of the auteur and the renegotiation of the term and its meaning to film and popular music, and the conjunction and interaction between creativity and commerce. In addressing the political and aesthetic possibilities of the film and popular music hybrid, as well as the cultural implications of their convergence, this thesis provides new perspectives for the analysis of both forms.
2
Trainer, Adam. "Rock'n'roll cinema". Trainer, Adam (2005) Rock'n'roll cinema. PhD thesis, Murdoch University, 2005. http://researchrepository.murdoch.edu.au/364/.
Abstract (sommario):
Popular music and film are separate media, framed by specific discourses, histories of distribution and reception, semiotic relationships and literacies. Through these divergent manifestations and ideologies nodes of convergence exist. At moments of connection, new and innovative textual and contextual possibilities emerge, transforming the ways in which audiences both engage and read these media. Whilst often driven by capitalist goals, both popular music and film capture and tether personal expression and collective memory. Through these processes of signification, popular cultural texts belonging to both media forms are able to resist their commodified origins to inform and construct both collective and individual identities.
This thesis charts the movement of popular music across cinema. Rock'n'Roll is utilized not only as an amalgam of texts made up of sounds and images, but also as a critical and interpretative apparatus through which specific cultural identities are configured. This work is concerned with various manifestations of political resistance in popular culture, and the ways in which this resistance is moderated through cultural commodification. Using an interdisciplinary approach - converging film analysis, popular music studies and music journalism - this thesis constructs an ideological framework through which film and popular music can be aligned, and through which this alignment can be researched.
Through an engagement with myriad cinematic and popular cultural texts, executed through interdisciplinary methods, this thesis establishes a theoretical framework for understanding and analyzing the convergence of popular music and cinema. Its original contribution to knowledge is an evaluation of the ways in which these media are changed through their alignment and how they inform each other both structurally, as tangible manifestations of specific media codes and structures, and politically, in the ideological embodiment of particular identities and representational realities. This goal is achieved through the selection of specific research materials, especially those which have not been subject to detailed investigation in other scholarly studies. Specific filmic and musical texts are discussed because they embody the aesthetic and political synergy of these two media forms as well as demonstrating the cultural processes through which this synergy is enacted.
This thesis offers interdisciplinary dialogue as a valid strategy to understand the processes involved in the creation and reception of texts which are cinematic in nature but utilize the language and discourse of popular music. The textual and contextual manifestations of this process are a primary concern. Emphasis is placed on the implications for film form in terms of the structure of texts and their existence within specific genres, the shifting position of the auteur and the renegotiation of the term and its meaning to film and popular music, and the conjunction and interaction between creativity and commerce. In addressing the political and aesthetic possibilities of the film and popular music hybrid, as well as the cultural implications of their convergence, this thesis provides new perspectives for the analysis of both forms.
3
Donnelly, Kevin J. "Pop music in British cinema : a chronicle /". London : Bristish Film Institute, 2001. http://catalogue.bnf.fr/ark:/12148/cb40204857z.
4
my, a. trainer@curtin edu, e Adam Trainer. "Rock n Roll Cinema". Murdoch University, 2005. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20061019.151505.
Abstract (sommario):
Popular music and film are separate media, framed by specific discourses, histories of
distribution and reception, semiotic relationships and literacies. Through these divergent
manifestations and ideologies nodes of convergence exist. At moments of connection,
new and innovative textual and contextual possibilities emerge, transforming the ways in
which audiences both engage and read these media. Whilst often driven by capitalist
goals, both popular music and film capture and tether personal expression and collective
memory. Through these processes of signification, popular cultural texts belonging to
both media forms are able to resist their commodified origins to inform and construct
both collective and individual identities.
This thesis charts the movement of popular music across cinema. RocknRoll is utilized
not only as an amalgam of texts made up of sounds and images, but also as a critical and
interpretative apparatus through which specific cultural identities are configured. This
work is concerned with various manifestations of political resistance in popular culture,
and the ways in which this resistance is moderated through cultural commodification.
Using an interdisciplinary approach converging film analysis, popular music studies
and music journalism this thesis constructs an ideological framework through which
film and popular music can be aligned, and through which this alignment can be
researched.
Through an engagement with myriad cinematic and popular cultural texts, executed through interdisciplinary methods, this thesis establishes a theoretical framework for
understanding and analyzing the convergence of popular music and cinema. Its original
contribution to knowledge is an evaluation of the ways in which these media are changed
through their alignment and how they inform each other both structurally, as tangible
manifestations of specific media codes and structures, and politically, in the ideological
embodiment of particular identities and representational realities. This goal is achieved
through the selection of specific research materials, especially those which have not been
subject to detailed investigation in other scholarly studies. Specific filmic and musical
texts are discussed because they embody the aesthetic and political synergy of these two
media forms as well as demonstrating the cultural processes through which this synergy
is enacted.
This thesis offers interdisciplinary dialogue as a valid strategy to understand the
processes involved in the creation and reception of texts which are cinematic in nature
but utilize the language and discourse of popular music. The textual and contextual
manifestations of this process are a primary concern. Emphasis is placed on the
implications for film form in terms of the structure of texts and their existence within
specific genres, the shifting position of the auteur and the renegotiation of the term and its
meaning to film and popular music, and the conjunction and interaction between
creativity and commerce. In addressing the political and aesthetic possibilities of the film
and popular music hybrid, as well as the cultural implications of their convergence, this
thesis provides new perspectives for the analysis of both forms.
5
Fisher, Alexander. "Music and modes of address in African Cinema". Thesis, Ulster University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.529563.
6
Su, Yen-ying. "Music and sound in post-1989 Taiwan cinema". Thesis, Royal Holloway, University of London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.588761.
Abstract (sommario):
Although film music research has been on the rise over the last decade, most research has focused on the Hollywood tradition. An increasing number of projects focusing on film-scoring traditions other than Hollywood are nevertheless beginning to reveal the richness of localised traditions and increase our understanding of the purpose of film music elsewhere. This thesis is a study of music in Taiwan cinema, focusing on the period 1989-2009. After the 1987 lifting of martial law and the 1989 release of HOU Hsiao-hsien's celebrated A City of Sadness, restrictions on cultural production in Taiwan were relaxed and cash from other Chinese-speaking communities as well as European and American companies began to be invested in Taiwan cinema. This influx of foreign capital has combined with the cultures of multiple colonisers to create the heterogeneous approach to filmmaking and the hybrid musical cultures found in Taiwan today. How do all these changes affect our understanding of the relationship between music and moving images in Taiwan cinema? How has music in Taiwan cinema reflected and responded to changes to its internal and external environments? I shall examine these questions from three perspectives. In Part One I briefly summarise the country's cultural history in order to flesh out an argument about the environment in which film musicians were working. I also define important conceptual terms such as Taiwan cinema, Chinese-language cinema, Cultural China, transnational cooperation, and so on. In Part Two I investigate the influences of Chinese aesthetics on music in Taiwan cinema, particularly on HOU Hsiao-hsien's use of silence. In doing so, I suggest that the changing philosophy of silence in HOU's films reflects his response to political and cultural currents over the past two decades. In Part Three I examine music in martial arts films, particularly in Ang 3 LEE's Crouching Tiger, Hidden Dragon (2000). As an important genre in China and the first to gain popularity in the West, martial arts films have long been subject to transnational exchange; to study the role of music and musicality in martial arts films is therefore to gain a useful perspective on the shifting forces that have influenced Taiwan cinema and Chinese-language cinema over several decades. The success of Crouching Tiger has given rise to more frequent transnational exchanges in Taiwan cinema than before. In Part Four, I will examine the music in two more recent films, Cape No. 7 (2008) and Secret (2007), to examine film music's ability to reflect the struggles in today's Taiwanese society to construct its own cultural identity. 4
7
Miranda, Suzana Reck. "Filmando a musica : uma interpretação do cinema de François Girard". [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284771.
Abstract (sommario):
Orientador: Lucia NagibTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-05T13:11:24Z (GMT). No. of bitstreams: 1 Miranda_SuzanaReck_D.pdf: 2131895 bytes, checksum: 29d857e5d36fd63130e9911fe9539507 (MD5) Previous issue date: 2006
Resumo: Esta tese propõe uma análise da relação música/cinema fundamentada em discussões que demandam uma interface entre a Musicologia e a Teoria do Cinema. O objeto de estudo é o filme Thirty Two Short Films about Glenn Gould (1993), do canadense François Girard. O universo musical do filme sugere uma análise específica, muito além da mera funcionalidade da música em relação à diegese. O objetivo é evidenciar como Girard executa cinematograficamente uma leitura sobre posicionamentos estéticos do pianista Glenn Gould e, com isto, ampliar a reflexão em torno da interface música/cinema. A metodologia adotada dialoga, em parte, com a abordagem de cunho fenomenológico de Michel Chion. Entretanto, pelo fato de ser um filme no qual a presença da música, além de assunto, constitui o principal modo de expressão, optou-se por estabelecer, sempre que necessário, aproximações entre a teoria do cinema e da música
Abstract: This thesis proposes an analysis of the film/music relationship through discussions at the interface between Musicology and Film Theory. The chosen subject is François Girard¿s film Thirty-two short films about Glenn Gould (1993). A specific approach is required in order to study the music in this film because of the musical world interpreted here by Girard. The idea is to show how Girard gives a cinematic reading of Glenn Gould¿s aesthetical position and, through this reflection, to provide a contribution to the field of Film Music. The theoretical support for this thesis comprises a number of influential authors on music and cinema theory, with focus on Michel Chion¿s phenomenological orientation
Doutorado
Doutor em Multimeios
8
Morcom, Anne Frances. "Hindi film songs and the cinema". Thesis, SOAS, University of London, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268674.
Abstract (sommario):
This thesis explores the relationship of Hindi film songs with Hindi cinema from the 1950s, especially emphasizing the present day. It is based on fieldwork completed in Bombay from 1998-2000 and the analysis of film songs and their picturizations. The main question addressed is: 'How far can film songs be seen as an independent tradition of popular music and how far are they a part of their parent films and Indian cinema?' Chapter 1 surveys previous scholarship on film songs and introduces their cinematic study. Chapter 2 deals with the production process of film songs, identifying the role of various personnel in their creation including the music director (composer), lyricist and singer(s). Chapter 3 addresses the musical style of film songs and its development in the light of both their cinematic and popular music roles. Chapter 4 turns to the use of Western music in film song from the perspective of meaning. Is Western music used in the same way in Hindi films as in Hollywood films, and if so, how, if music is not a universal language? Is the presence of Western music in film songs just due to hegemony? Song and background score material is analysed in its dramatic context, and Indian and Western music theory and interview material drawn on to answer these questions. Chapter 5 looks at the commercial life of film songs, addressing the question of whether songs sell films or films sell songs through an examination of the marketing and profitability of film songs in various eras. Chapter 6 discusses the reception of film songs, their popularity, how audiences come into contact with them, and their appropriation by audiences. Adorno's profile of mass music as alienating is revisited with reference to film song.
9
Maciel, Katia Augusta. "Film, popular music and television : intertextuality in Brazilian cinema". Thesis, University of Southampton, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.494969.
Abstract (sommario):
The thesis examines the effects of the cross-fertilisation between cinematic, musical and televisual texts on depictions of two emblematic Brazilian social space - the favela (shantytown) and the sertão (arid backlands) - in recently released independent and mainstream domestic productions. I argue that through processes of intertextuality recent Brazilian films have gradually transformed the favela into a widely exposed, lucrative but also productively challenging spectacle. Similarly, the iconicity of the sertão has been resignified allowing a new understanding of the region to emerge. My analysis of recent films set in either the favela or the sertão also proposes that different elements, such as traditional and modern, local and non-local cultural forms, are not simply blended into a single hybrid filmic text. As these elements coexist and traverse the cinematic landscape in the contemporary moment, I insist on the fact that the idea of national culture, in Brazil as well as elsewhere, must be considered in relation to ever-changing contexts rather than in relation to prescriptive ideologies. My research contributes to reassessing Brazilian cinema history by exploring key examples of the aesthetic, constitutional and cultural interaction between popular media in the country. The reassessment allows me to challenge established distinctions between art and popular cinema, to propose more productive ways of understanding how different media can support their mutual development, and to highlight the implications of intertextuality for new expressions of brazilidade (Brazilianness). The discussion is based on an intertextual analysis of four recent domestic films: Cidade de Deus (City of God, 2002), Lisbela e o prisioneiro (Lisbela and the Prisoner, 2003), O invasor (The Trespasser, 2001) and Baile perfumado (Perfumed Ball, 1997). I examine elements of the mise-en-scène (mainly set design and performance), editing and soundtrack to identify cross-media references.
10
Eikmeier, Martin. "A música de Remo Usai no cinema brasileiro". [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284921.
Abstract (sommario):
Orientador: Claudiney Rodrigues CarrascoTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-17T04:47:36Z (GMT). No. of bitstreams: 1 Eikmeier_Martin_D.pdf: 2098616 bytes, checksum: 57c02e59701b149f0f9ceb73cdd8b1e2 (MD5) Previous issue date: 2010
Resumo: Remo Usai foi o compositor que mais produziu na história do cinema brasileiro; e o único profissional especializado de sua época. Este trabalho investiga sua trajetória ao longo de 4 décadas, concentrando-se nas suas atividades durante os anos 60, período em que compôs para filmes ligados ao projeto do cinema novo e de uma produção politicamente engajada. O foco do texto se deu na aderência de seu projeto musical a filmes cujo enredo exigia formas de diálogo entre música e narrativa distintas de sua formação, que se deu nomeadamente na tradição do cinema americano e na lógica do melodrama. Deste modo, investigou-se, em primeiro lugar, quais os caminhos que levaram um profissional, identificado com um projeto de cinema - a chanchada - combatido elos artistas com os quais se associou na década de 60, a compor para estes filmes. Em segundo, as diferenças entre a maneira de lidar com o material musical em cada um destes projetos de cinema, procurando encarar tanto suas disposições estéticas, quanto o seu modo de produção e a maneira pela qual um e outro afetaram o trabalho de composição de Remo Usai
Abstract: Remo Usai was the most productive composer of our cinema history, and the only professional specialized in the art of film music of its time. This work investigates his career over four decades by focusing on his activities during the 60, period in which he composed for films related to the cinema novo project and politically engaged productions. The focus of the text is the adherence of his musical project to movies in which the plot demanded forms of dialog between music and narrative other than its formation could provide, which occurred particularly in the tradition of American cinema and the logic of melodrama. Thus, the text investigates, at the outset, what where the paths that lead a professional identified with a film project - the chanchada - opposed by the artists with whom he joined in the 60s, to compose for these films. Secondly, the differences between the way of dealing with the musical material in each of this film projects, trying to face both its aesthetic provisions, as its mode of production, and the way that either affect the composition of Remo Usai
Doutorado
Doutor em Multimeios
Libri sul tema "Music and cinema":
1
Tonno, Sergio Di. Cinema & musica. [Busalla, Italy]: La lontra, 2006.
2
Powrie, Phil. Music in Contemporary French Cinema. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-52362-0.
3
Graham, Rodney. Rodney Graham: Cinema music video. Wien: Kunsthalle Wien, 1999.
4
Gómez, Lidia López. Popular Music in Spanish Cinema. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003194347.
5
Simon, Dwyer, a cura di. Rapid eye: Art, occult, cinema, music. Brighton: Rapid Eye, 1989.
6
Cano, Cristina. Michael Nyman: Ascoltare il cinema. Milano: F. Angeli, 2004.
7
Venice (Italy). Assessorato alla cultura e alle belle arti. e Teatro La Fenice, a cura di. Cinema & jazz. [Venezia]: Comune di Venezia, Assessorato alla cultura, 1985.
8
Mendes, Gilberto. Música, cinema do som. São Paulo: Perspectiva, 2013.
9
Cano, Cristina. Michael Nyman: Ascoltare il cinema. Milano: FrancoAngeli, 2004.
10
Pozzo, Diego Del, Antonio Tricomi, Vincenzo Esposito, Fabio Maiello e Corrado Morra. Il cinema secondo Springsteen. Atripalda (AV) [i.e. Avellino, Italy]: Mephite, 2012.
Capitoli di libri sul tema "Music and cinema":
1
Blumenthal-Barby, Martin. "Counter-Music". In Cinema and Surveillance, 17–45. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003229834-2.
2
Mühlenfeld, Daniel. "Cinema, Art, and Music". In A Companion to Nazi Germany, 385–98. Chichester, UK: John Wiley & Sons, Ltd, 2018. http://dx.doi.org/10.1002/9781118936894.ch23.
3
Van Order, M. Thomas. "Italian Film Music". In The Italian Cinema Book, 142–48. London: British Film Institute, 2014. http://dx.doi.org/10.1007/978-1-349-92642-8_18.
4
D’Lugo, Marvin. "Music in Latin American cinema". In The Routledge Companion to Latin American Cinema, 329–43. New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315720449-23.
5
Lluís i Falcó, Josep, e Yaiza Bermúdez Cubas. "Canción española in cinema". In Popular Music in Spanish Cinema, 120–30. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003194347-13.
6
Pérez-Colodrero, Consuelo. "Cinema and national imaginary". In Popular Music in Spanish Cinema, 13–25. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003194347-3.
7
Wierzbicki, James. "Cult soundtracks (music)". In The Routledge Companion to Cult Cinema, 307–14. London; New York: Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781315668819-38.
8
Letcher, Christopher. "Post-Apartheid Cinema". In The Routledge Companion to Screen Music and Sound, 318–27. New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315681047-26.
9
Pontara, Tobias. "Interpreting Tarkovsky’s Cinema Through Its Music". In Andrei Tarkovsky’s Sounding Cinema, 1–19. New York : Routledge, 2020. | Series: Music and sound on the international screen: Routledge, 2019. http://dx.doi.org/10.4324/9780429297618-1.
10
Windisch, Anna K., Claus Tieber e Phil Powrie. "From Unheard to Meaningful: When Music Takes Over in Film". In When Music Takes Over in Film, 1–11. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-89155-8_1.
Abstract (sommario):
AbstractThis introduction lays out the focus of the book on moments in film when ‘unheard melodies’ become heard and meaningful. These filmic instances where music ‘takes over’ and the surreal often becomes the accepted filmic reality are examined in reference to two recent theoretical approaches: ‘musical moments’ (Amy Herzog) and ‘crystal songs’ (Phil Powrie). Divided up into four parts, the book’s chapters apply these two differing but overlapping theoretical concepts to their case studies and discussions. What the Musical Moment Can Do—Theoretical Approaches covers the books’ theoretical foundation by Herzog and Powrie themselves. Part two, How the Musical Moment was Created—Musical Numbers in Silent and Early Sound Cinema, discusses the history of musical numbers from silent to early sound cinema. Then, Musical Dis/Placements—Musical Moments in Global Cinema focuses on the varied manifestations of musical numbers through case studies of different national cinemas. And finally, From Romance to Dystopia looks at the social and political dimensions of musical moments embedded in contemporary cinema, with the goal of evoking further discussions of this rich and foundational filmic element.
Atti di convegni sul tema "Music and cinema":
1
Leembruggen, G. "TEMPORAL STRUCTURE OF THE SPECTRAL LEVELS WITHIN PRE-RECORDED SPEECH, MUSIC AND CINEMA MATERIAL". In REPRODUCED SOUND 2020. Institute of Acoustics, 2020. http://dx.doi.org/10.25144/13370.
2
Leembruggen, G. "TEMPORAL STRUCTURE OF THE SPECTRAL LEVELS WITHIN PRE-RECORDED SPEECH, MUSIC AND CINEMA MATERIAL". In REPRODUCED SOUND 2020. Institute of Acoustics, 2020. http://dx.doi.org/10.25144/13370.
3
Trifan, Aurelia. "Socialist modernism – a way of disseminating a new ideology in the architecture of entertainment buildings". In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.14.
Abstract (sommario):
During the years 1955–1991, the attempts and searches meant to impose qualities corresponding to the fundamental principles of socialism on the architecture led to the realization of buildings with distinctive features, qualified today as modernist-socialist. Over a period of more than three decades, Soviet architecture turned to a synthesis of Western paradigms and its own avant-garde, largely unbuilt heritage. Theater, cinema and music, considered to be fields of culture accessible to the masses at large, are the genres of art placed at the center of the cultural policy of the Soviet state. In addition to the old buildings readapted for cultural activities, new buildings are designed based on a rigorous transposition of functional requirements. Representative for this time period are the cinemas designed to meet the requirements of a growing audience and to be expressive architectural pieces in the new micro-districts. The large number of houses of culture built in the district centers on the basis of standard projects is significant. At the same time, unique architectural programs appear functionally reflecting the social superstructure.
4
Costalonga, Leandro, Daniel Coura, Marcus Vinícius Das Neves, Fabiano Costa e Helder Rocha. "NESCoM Research Report (2019)". In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10437.
Abstract (sommario):
The NESCoM is a multidisciplinary research center formed by musicians, engineers and computer scientists. The main research interest lies with sonology, audiotacticle musical analysis, ubiquitous music, interactive multimedia installations, and the design of computer music technology in general. Overall, the common ground for the NESCoM projects lies with the human-aspects, both cognitive and motor, behind a musical activity. This can come, for instance, in the shape of an audiotactile analysis of musical interaction applied to a new digital musical interface designed to overcome human physical constraints or the composition of a cinema soundtrack based on perceptual models of the audience. In this paper, it is reported a short description of the ongoing projects of the NESCoM and the future works.
5
Olărescu, Dumitru. "The evolution of the documentary film, dedicated to popular music performers". In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.17.
Abstract (sommario):
Our folk songs, coming from over centuries, still today express the deepest soul of the man’s inner world, his sentimental experiences in the middle of the world, the connections with loved ones, with his native land, with society. These musical pieces, very diverse from the melodic perspective and the ideational background, form a complex socio-cultural phenomenon, which has interested scientists, men of art and culture. Back in the 1950s, at the beginnings of our cinema, current affairs topical cinematographic magazines already included subjects about some folk music performers, such as Tamara Ceban, Maria Bieşu, Gheorghe Eşanu and some amateur singers. Since then, the creation of folk music performers has been the basis of several documentary films, made at the “MoldovaFilm” studio by the filmmakers: Emil Loteanu (“Fresco pe alb”, “Ecoul văii fierbinţi”), Andrei Buruiană (“Nicolae Sulac”, “Cantecele noastre”), Anatol Codru (“Tălăncuţa”), Ana Iuriev (“Fluieras”), Iacob Burghiu (“Surorile”), Vlad Druc (“Ploi de dor”, “Vai, sarmana turturica”), Ştefan Bulicanu (“Asa-i viata omului”) etc. We will try to elucidate the aesthetic-artistic specifics and the role of the documentary film in the preservation and valorization of the spiritual heritage of the people.
6
Margineanu, Virgiliu. "The trend of the film industry in the Republic of Moldova during the 30 years of independence". In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.25.
Abstract (sommario):
In the 90s, with the collapse of the Soviet Empire, the systems by which certain artistic fields functioned were also ruined. Heavy names of Moldovan cinema became legends. The few new names seemed devoid of the prospect of a bright future, and the film, as the seventh art, turned off the light and drew the curtain. By taking a look at the past, on the one hand, Moldovan cinematography has a path with high-impact achievements, with a rich history, but at the same time, it is the least developed field, if we relate it to the rise which other arts have experienced since our independence.
7
Āboliņa, Daira. "Television-Commissioned Films in the History of the Riga Film Studio. Cinematic Language and Genesis of Stylistics". In International scientific conference of the University of Latvia. University of Latvia Press, 2023. http://dx.doi.org/10.22364/ms22.01.
Abstract (sommario):
The research is focused on the development of the means of artistic expression applied in the cinema of a specific time period (1966–1989), analysing the films made at the Riga Film Studio (Rīgas Kinostudija), commissioned by the Central Television of the USSR. Both innovative and formal solutions can be found in the films of that era, especially considering the creation of the two-part format. The current publication focuses on the genesis of the artistic and production processes of the film “Lielais dzintars” (“The Great Amber”, “Dziesma par Rīgu” / “A Song About Riga”, 1972), in the context of the cinema development of that time, based on the documents of the Latvian State Archives of the Latvian National Archives. The inclusion of humorous elements in the film’s narrative, the use of music, visually impressive Latvian landscapes on the screen, an international cast corresponding to the scale of the USSR, was a way to sell the film to the customer. Riga Film Studio and its authors agreed to modify the script and film several times, subjecting themselves to artistic compromises. Censorship in the USSR realized its ideological goals by idealizing the Soviet man’s way of life, destroying the narrative and aesthetics of the film “Lielais dzintars”.
8
Fischer, Andre. "New transmedia design for traditional film festivals". In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.121.
Abstract (sommario):
The disruptive transformations process in the audiovisual sector were unexpectedly accelerated after the covid-19 pandemic. This caused a rearrangement in the chain of the distribution, exhibition and circulation, thus restructuring the whole design of film festivals, once considered the launching point of this entire industry and strongly based on specific physical locations. Streaming has become the main way in which image and sound content are distributed. Entertainment became multiplatform and interactive, changing the way in which narratives are structured, and these contents are produced and consumed. The convergence of media made porous the boundaries between what are conventionally called video, cinema, theater and performance. The platformization process permanently changed the traditional model of audiovisual distribution, staffing and curation of festivals - which undergo a hybridization operation that allows the potential use of interactive resources and online delivery of movies, plays and performances to audiences all around the globe. To understand the potential of transformations, the study investigates in depth the experience of MixBrasil Festival, largest LGBTQIA+ cultural event in Latin America, created in 1993, showcasing multiple formats and techniques (cinema, theater, music, literature). With digital content being programmed since 2018, in 2020 it expanded its online exhibition to four different digital platforms. The study is carried out concurrently with the monitoring of MixBrasil and other film festivals held in Brazil, considering what strategies are being adopted and how they will stand out as innovative - or just replications of the traditional movie theater model. It also aims to identify processes, paths and perspectives for the sector considering that the old template for launching films used since the 1950´s might no longer be applicable to the current state of the industry. Facts and trends that are forcing these events to face a crisis of identity and questioning the viability of a (still) prestigious circuit. Platformization implies the adoption of online functionalities integrated at economic and infrastructure levels which fully affects the organization strategies of festivals. Therefore, a change in the way of thinking the place of film festivals in the industry chain is in progress: as a possible space for capturing data from the public to support future curatorships and permanent actions which would make them more dynamic and relevant. Associated with this process is the notion of attention economy and the reorientation of users as active producers of culture, in the way they can affect the hybrid future of festivals. Metrics recurrently used like engagement, geolocation, retention and abandon rates are necessary to identify obstacles and potentialities that the new scenario presents. The research is raising additional questions about the behavior and expectations of different age groups, the motivations of audiences for attending festivals. It also investigates why although movie theaters are closing, distributors keep restrictions on festival theatrical screenings. This is a unique opportunity to reflect on perspectives for audiovisual festivals in order to capture viewers' attention, reposition their relevance to society, get the (re)cognition of different audiences and forge new experiences.
9
DOSPINESCU, Liviu. "Present-Day Trends in the Research and Creation of Living Arts in the Academia: A North American Model". In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0011.
Abstract (sommario):
This paper tackles several aspects of the ‟opening towards the Other” that has marked an emancipation trend in the arts of the stage for more than a century; I will name them living arts because, of all the arts, they are distinctly characterized by this essential quality. It also finds its meaning in the institutional decompartmentalization and the opening of disciplinary practices towards the others. Under the sign of the inherent human living presence, the living arts refer to experiences in the whole spectre of the stage arts, coming under a polymorphous subject of research as early as the former half of the 20th century. It includes the most diverse disciplinary aspects, which are no longer just those of the drama, dance and choreography, performance or music, because the disciplinary practices of the other field and also practices from more remote fields like the visual arts, the cinema or those of the languages of new technologies connected, for instance, with the complex projections on the stage or its augmentation through Virtual Reality etc. can be added to it any time. Thus, we can notice how, in an intermedial process, in the meeting of drama and film, drama, as an art of the unmediated and of the living presence, tends to leave a mark (i.e. of the living) on the spectre of the delayed presence of the film in an inter- or even transdiciplinary relation. Therefore, the paper explores phenomena around the meeting of distinct entities under the interdisciplinary and intercultural aspects that mark the strong current interest in alterity and hybridity in the stage act but also in the new modes of perception in which the spectator is invited to engage or in the new interpretation grids demanded of the researcher. I will enrich this perspective by offering a few present-day reserach and creation trends in the living arts in the academia. They are extracted from my experience of both research-creation and doctoral project coordination. I share this experience in order to reveal a distinctiveness of research and creation at University of Laval, Québec and, at a larger scale, a trend or maybe even a model for the North American space. Apart from its descriptive aspects, my paper aims at raising new questions, inspire new possibilities and reinforcing new contributions in the research and creation of living arts.
10
Babu, Devi, e Supriya P. "Music Emotion Recommender System using Spectral Features-a Malayalam cine music deployment". In 2021 Second International Conference on Electronics and Sustainable Communication Systems (ICESC). IEEE, 2021. http://dx.doi.org/10.1109/icesc51422.2021.9532821.