Teses / dissertações sobre o tema "Cine sonoro"
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Veja os 19 melhores trabalhos (teses / dissertações) para estudos sobre o assunto "Cine sonoro".
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Sussoni, Ramos Nicole Ivette. "La importancia del diseño sonoro cinematográfico: una comparativa entre el cine y el streaming". Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/655139.
Texto completo da fonteIn recent years, technology has progressed to such an extent that with the emergence of streaming platforms, the way of enjoying a movie has completely changed, we went from sitting in a movie theater to the comfort of your home and using any electronic device. . In the case of audiovisual sound language, it has meant a stage of advance not only on a technical level but also on an aesthetic level, achieving the growth of the soundtrack within the design and production process. This article analyzes the evolution that the sound treatment of cinema has had with streaming content and new advances in technology, through a comparative analysis of the work of director Martin Scorsese. Also, changes within the way the viewer has the connection to the film. This topic supposes an extension of the knowledge in the field of sound design and thus know the new techniques and elements used to complement this art.
Trabajo de investigación
Robles-Guzmán, Vanessa-Cecilia. "El exorcista: un estudio de su tratamiento sonoro y de su influencia en el cine de terror contemporáneo". Bachelor's thesis, Universidad de Lima, 2016. http://repositorio.ulima.edu.pe/handle/ulima/3594.
Texto completo da fonteThe Exorcist, a film of horror genre directed by William Friedkin in 1973, is not only a classic of the genre; it is also a reference to horror films made later. This is due to its treatment of issues that were unprecedented for the genre, such as infantile sexuality, and the characteristics of the representation of the process of physical transformation of a possessed girl, and the design of the soundtrack and all its components: voice, sound effects, atmospheres created with them, music and silence. They are aimed at creating a climate of visceral horror, where fear caused by gender coexists with disgust, repugnance and repulsion caused by the elements of filmic representation. This article describes and interprets the uniqueness of the sound treatment of The Exorcist, pointing what has been influential in the course of the history of the horror genre.
Trabajo de investigación
Viñas, Alcoz Albert. "Celuloide inaudito: prácticas sonoras en el cine estructural (1960-1981)". Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/352713.
Texto completo da fonteThis thesis studies the structural film sound analyzing their theoretical foundations, its practical treatments and aesthetic appreciation. A series of international structural films included under four acoustic concepts are located in order to discuss the dynamics of their sounds. The research focuses on the notion of noise, the use of the voice, the techniques of repetition and the concept of soundscape, to examine twelve films which distort the sound emphasizing its materiality. The study confirms the acoustic experiments os structural film as an essential resource to question the technological limitations of the medium.
Chavez, Leon Sofia Alessandra, Acevedo Jahaira Julie Daga, Huaracha Luz Andrea Quichiz e Clavo Melanie Nicole Trebejo. "Huaytita cortometraje animado desde la perspectiva de las áreas de gráfica, animación, edición y diseño sonoro". Bachelor's thesis, Pontificia Universidad Católica del Perú, 2019. http://hdl.handle.net/20.500.12404/16062.
Texto completo da fonteThe animated short film Huaytita (2019) is based on the personal experience of Melanie, a member of the group, who from a very young age has received natural remedies from her grandmother. That is why for the realization of this project we propose a main objective and a secondary objective. The main objective is to develop through this animation this grandmother-granddaughter-natural medicine relationship and reflect this in the areas of Graphics, Animation, Editing and Sound. While, the secondary objective is to achieve an audiovisual product enriched by image and sound, regardless of the use of dialogue. To achieve these objectives, we plan the necessary adjustments for the use of Adobe programs to be used for Graphics, Editing and Animation area. Subsequently, based on the script we started to work on the expression sheets and color palette for the character design; also, we worked on the design and color for the backgrounds from the Graphic area. At the same time, we handle the necessary adjustments for the music next to the composer as well as the sound design for each scene considering the environment and objects necessary for the realization of the foley from the Sound area. Once the drawing files have been digitized, we put each frame together to create a continuous movement (traditional animation). Also, we opted for the use of digital animation in the case of magic and other complex movements from the Animation area. Finally, we put together all the files managing the rhythm and time needed for each scene since the Edition. As a result, a short animated fiction was obtained that shows natural medicine not only as an alternative to cure diseases but also as a family bond and inheritance.
Trabajo de investigación
Grueso, Hierro Alicia. "El film El Orador (1928) de Ramón Gómez de la Serna: texto, contexto y performance del discurso. Proyecto de cine ensayo R.(1928-2018)". Doctoral thesis, Universitat Politècnica de València, 2021. http://hdl.handle.net/10251/171483.
Texto completo da fonte[CA] Aquesta tesi estudia el curtmetratge pioner del cinema parlat espanyol El Orador [L'Orador] (1928) de Ramón Gómez de la Serna, dins de la indústria primigènia del cinema sonor a través del productor Feliciano Manuel Vitores i la Hispano de Forest Fonofilms. La incògnita que s'obre sobre aquesta obra d'art "desconeguda" ha portat a buscar els detalls de la cinta i la seua ressonància viva amb el present. La tesi ha comprés una anàlisi del discurs fílmic revisant les condicions i casuístiques que van envoltar el text, el context i el seu performance posterior, analitzant l'obra El Orador [L'Orador] mitjançant la literatura de l'autor, en la seua vinculació políticasocial, tecnològica i cinematogràfica amb l'Espanya dels anys vint del s. XX. Aquest treball situa la genealogia de la conferència dramatitzada l'any 1928, demostrant com El Orador [L'Orador] és la primera performance cinematogràfica documentada al nostre país. La tesi marca un punt de partida des de El Orador [L'Orador] fins a l'actualitat traçant una línia de punts discontínua que abasta quasi cent anys, configurant un mosaic tipològic de "espècies d'oralitat" que, en paraules de Miguel Molina Alarcón, continua el deixant heretat de la conferència com a gènere artístic. L'estudi verifica l'herència, supervivència i rastres singulars de la metaoratoria ramoniana en els artistes escènics de postavantguarda. El treball s'estructura en cinc capítols. El primer descriu aspectes generals de l'autor relacionats amb el seu curt i biografia. El segon aborda el text de El Orador [L'Orador], amb assajos afins a l'estètica del seu discurs, la seua trajectòria de conferenciant, la novel·la Cinelandia i els guions que va idear per a cinema. El tercer aborda la confecció del film i la seua història dins de la indústria del cinema paleosonor, en la seua connexió amb els altres curts de l'empresa Cinefón rodats per F. M Vitores. El quart capítol narra la presentació del film com performance i la seua ressonància amb les arts escèniques actuals, proposant un collage d'artistes oradors. En l'últim presentem el projecte de cinema assaig R. cinc aproximacions al curtmetratge. Els annexos contenen diverses compilacions; imatges de l'Arxiu Vitores, recopilació de textos inèdits sobre cinema escrits per l'artista, i els seus esbossos manuscrits sobre cinema. El tipus d'investigació ha sigut mixta: constatativa, comparativa i d'enllaç, això és, s'ha confirmat la hipòtesi de partida mitjançant les noves dades obtingudes i s'ha configurat a partir del material principal una proposta creativa personal, aplicant la corrent pràctica d'art-investigació. Els resultats reeixits han sigut, d'una banda situar El Orador [L'Orador] en el seu marc temporal superant la seua visió anecdòtica i revaloritzant-la. La presumpció del paper històric de El Orador [L'Orador] ha confirmat ser positiva, demostrant ser una fita del seu temps i del nostre. El treball ha permés interpretar la nova oralitat en l'art contemporani des de les característiques humorístiques que va prefigurar l'escriptor, abordant l'actual escena performativa. Finalment, la realització de la película experimental R. ha suposat un diàleg entre temps cinematogràfics diferents i una proposta de creació híbrida inspirada per la mateixa llibertat de Ramón. Les claus crítiques i estètiques que es troben en la película permeten observar-la hui com un model exemplar de posicionament polític, intelectual i artístic.
[EN] This thesis explores the pioneering short film of Spanish spoken cinema, El Orador (1928), by Ramón Gómez de la Serna, in the context of the nascent international sound cinema industry through producer Feliciano Manuel Vitores and Hispano Forest Fonofilms. The enigmas surrounding this "unknown" work of art led to a study of every detail about the film, and its resonance with the present. The thesis involved an analysis of the filmic discourse, reviewing the environmental factors surrounding the text, its context and subsequent performance; studying the piece through the author’s literary works and through its socio-political, technological and filmographical ties to Spain in the 1920s. This paper sets the genealogy of the performative conference in Spain in 1928, showing El Orador as the first ever film performance documented in our country. The thesis begins its journey with El Orador through the present day, drawing an intermittent timeline that spans almost a hundred years, crafting a typological mosaic of “oral species” that, in the words of Miguel Molina, continues the legacy of the conference as an artistic genre. This study verifies the heritage and endurance of the ramonian meta-oratory among avant-garde performing artists from the 1950s onward. The thesis is structured in five chapters. The first describes geneal aspects of the author related to his short film and biography. The second focuses on the film’s script, compiling ramonian essays with a similar aesthetic, as well as Ramon’s own trajectory as a lecturer, including a study of the novel Cinelandia and other scenarios he planned. The third chapter covers the creation of the film and its history within the paleosonic film industry and its connection with other short films by F. M Vitores for Cinefón. The four chapter narrates the film’s presentation as performance and its resonance in the current performing arts and a collage of contemporary oral artists. The last chapter details project R. five studies of short film feature by the author. The annexes contain several compilations, on the one hand a selection from the Archive Vitores, and on the other Ramon’s writing about film, images of Ramón's manuscripts, brought together for the first time. The type of research has been mixed: factual, comparative and pursuing links, meaning the initial hypotheses has been confirmed through new data uncovered, and a personal creative proposal has been configured from the main material and applying the practical current movement of art-research. The results achieved include, first and foremost, setting El Orador in its proper place in time, going beyond its anecdotal role and reclaiming its true importance. The assumption of El Orador’s historic contribution has proven to be correct, revealing it as a milestone piece of its time and ours. The study allowed an interpretation of the new oral trend in contemporary art from the use of humor so characteristic of the writer. Finally, the experimental film R. allowed a dialogue between different film eras and a proposal of a type of hybrid creation inspired by Ramon’s own freedom. The key critical and aesthetic points found in the film allow us to view it as an exemplary model in its political, intellectual and creative positioning.
Grueso Hierro, A. (2021). El film El Orador (1928) de Ramón Gómez de la Serna: texto, contexto y performance del discurso. Proyecto de cine ensayo R.(1928-2018) [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/171483
TESIS
Vigo, Davila Alejandra Andrea. "Influencia de la banda sonora en la evaluación de personajes de una película". Bachelor's thesis, Pontificia Universidad Católica del Perú, 2014. http://tesis.pucp.edu.pe/repositorio/handle/123456789/5396.
Texto completo da fonteSince the beginning of cinema, movie scores have been known for performing certain functions that make the spectator’s experience more complex, some of these promote the establishment of a relationship with the main character. Using an experimental design, this study explores how different types of music (taken from drama and thriller genre) affect the evaluation of movie characters in a sample of students from a private university in Lima Metropolitana (n=30). Analyses were carried out in three levels: considering each video as a unit of analysis, across conditions (drama, thriller and without music) and within-subjects. Results show that movie music can produce differences in character likeability, interpretations of the character´s intentions, certainty of what the character is thinking or feeling and identification with the character. Responses attributed to melodramatic characters were more positive (higher likeability, better intentions and greater identification).
Tesis
Valenzuela, García Inés. "El poder narrativo del sonido : el sonido como herramienta narrativa en la película El laberinto del fauno". Bachelor's thesis, Pontificia Universidad Católica del Perú, 2012. http://tesis.pucp.edu.pe/repositorio/handle/123456789/4422.
Texto completo da fonteTesis
Murrugarra, Polanco David Alonso. "La función narrativa de la banda sonora en El Padrino: Parte I". Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/655905.
Texto completo da fonteSince the implementation of sound in movies during the second decade of the 20th century, the soundtrack has gained an important place in the process of creating a film story. In this way, the vision of cinema as it was known was changed. With the birth of film genres and audiovisual creators, cinema went through a stage of rediscovery where the implementation of new techniques was an important factor in this change. Faced with this adaptation, the industry has developed the use of the soundtrack to give it a more advanced function than just avoiding unjustified silence in a movie. This research seeks to demonstrate the narrative capacity of the soundtrack for the story of a film. For this, the 1972 film: The Godfather Part I will be taken. The choice of the object of study is based on the elaborate soundtrack that accompanies the film.
Trabajo de investigación
Frisón, Fernández Carlota. "El silencio en las imágenes cinematográficas. Formas audiovisuales en el cine español del siglo XXI". Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/384477.
Texto completo da fonteThe present investigation aims at studying the phenomenology of silence in film, in particular, its shaping in contemporary Spanish cinema (XXIst C). I start with the thesis that visions of silence as a human manifestation and, the cinematic ones in particular, have previously been addressed and understood in terms of absence, omission or lack of. The goal of this paper is to discuss this conception, as well as to analyze the configuration of the concept itself. I focus mainly on the idea that silence is a construction full of meaning hence when included within the cinematic image it displays what we don’t usually acknowledge as an organizer of the silent image. Stemming from the belief that the presence of cinematic silence is a construction that is specified during the film and a metaphor which works as a completely specific element, silence in cinema is a metaphoric construction that, whenever it is constructed in film, it relates and showcases the specific features of this field. A film is, itself, a moving metaphor, and that involves the existence of sonic and visual processes of transformation. It is from this conceptualization that I’ll be exploring what silence is made of and how it is established. Through the rhetoric analysis of contemporary Spanish films I’ll seek to identify how silence is constructed and portrayed in films.
Naccache, Marion. "Bernard Heidsieck & Cie : une fabrique du poétique". Phd thesis, Ecole normale supérieure de lyon - ENS LYON, 2011. http://tel.archives-ouvertes.fr/tel-00680287.
Texto completo da fonteRejas, Cano Susana Angélica. "Menos es más : el diseño de sonido minimalista de Michael Haneke en las películas caché (2005), Das weiBe Band (2009) y Amour (2012)". Bachelor's thesis, Pontificia Universidad Católica del Perú, 2017. http://tesis.pucp.edu.pe/repositorio/handle/123456789/9188.
Texto completo da fonteTesis
Oliart, Velarde Rosa María. "La subalternidad en la participación de mujeres trabajadoras en las áreas técnicas del rodaje cinematográfico en el Perú: Las sonidistas". Master's thesis, Pontificia Universidad Católica del Perú, 2021. http://hdl.handle.net/20.500.12404/19792.
Texto completo da fonteBased on my own experience in the field of cinematographic sound and also on interviews with those involved in technical job roles in filmmaking in Peru, this work analyzes the subalternity of female personnel in those positions, highlighting what happens specifacally in the sound production job roles, due my professional experience in this field. I explore the possible causes why this discrimination has been installed and perpetuated in the job model of filmmaking. I find that there are cultural, ideological, economic, academic, biological and physical, reasons, among other aspects, that currently define technical positions in filmmaking as highly masculinized. I have heard testimonies from the few women who participate in the technical positions of Peruvian feature films, and also interviewed men technicians. Since in this conflict the interviewees are involved, I also talked to the producers, regarding the criteria they apply to select their technical staff. To broaden the boundaries of this study, I have contrasted the Peruvian situation with a more advanced and closer industry such as Argentina’s as well as brief glimpse of what is happening in the Hollywood industry.
Araújo, de Siqueira Matheus. "Listening to Vincent Moon: musical encounters and the cinematic diagram". Doctoral thesis, Universitat Pompeu Fabra, 2018. http://hdl.handle.net/10803/665066.
Texto completo da fonteEsta tesis se enfrenta a cómo la experiencia es el centro de la atención en detrimento de la significación en las películas de Vincent Moon. Formulo que el director está buscando que su trabajo exprese algo único cada vez que se lo encuentre en vez de preocuparse por imbuir sus películas con un sentido. Para lograr esto, su práctica artística se somete a un conjunto de procedimientos que están más en línea con el campo del sonido que el del cine. Al transponer valores profundamente arraigados en la filosofía del sonido al cine (particularmente A la escucha de Jean-Luc Nancy), el trabajo de Moon critica la perspectiva ocular predominante donde el significado y la comprensión es el objetivo final. Al cuestionar las implicaciones de tal práctica, dialogo con estudios emergentes relacionados con el sonido con lo Actual y lo Virtual de Deleuze, además de la experiencia aurática de Walter Benjamin. Concluyo proponiendo que Vincent Moon propone una nueva forma de imagen, una que debe ser comprendida a través de su capacidad explosiva de ofrecer una experiencia de naturaleza intrínsecamente transitoria y efímera: la imagen-encuentro.
Traver, Navarro Paula. "EL COMPOSITOR ESPAÑOL JOSÉ MARÍA RUIZ DE AZAGRA SANZ (1900-1971): BIOGRAFÍA Y OBRA". Doctoral thesis, Universitat Politècnica de València, 2015. http://hdl.handle.net/10251/57709.
Texto completo da fonte[ES] La presente tesis doctoral, que pretende recuperar la figura y obra del compositor español José María Ruiz de Azagra Sanz (1900-1971), entronca con la línea de investigación actual sobre compositores que desarrollaron su trabajo creativo principalmente durante la postguerra española. A pesar de tratarse de uno de los compositores más prolíficos y populares en su época tanto en el género del teatro lírico (pasodobles, cuplés, revista¿) como en el cine español de los 40 y 50, Ruiz de Azagra ha sido relegado al ostracismo y apenas existen referencias a su obra y su persona, si bien destacan algunos estudios académicos y publicaciones especializadas realizados por Casares Rodicio, Llisterri, o Roldán Garrote que hablan de algún aspecto de su vida y obra dentro del teatro lírico y la música cinematográfica. Los principales objetivos de este trabajo son la presentación y establecimiento de una biografía exhaustiva y actualizada del compositor así como la catalogación su obra. Tras un minucioso trabajo de campo que supuso la consulta en un amplio espectro de fuentes, fundaciones y centros documentales, se presenta junto con la biografía y el catálogo del autor, un análisis general de la banda sonora musical para la película La torre de los siete jorobados así como de algunas composiciones para teatro lírico de los años 50 con el fin de establecer unas características propias de composición del autor en ambos géneros. Por último, también se aporta la partitura recuperada para piano y voz de la canción Manola lá mediante la escucha del registro audiovisual perteneciente a la película anteriormente citada.
[CAT] La present tesi doctoral, que pretén recuperar la figura i l'obra del compositor espanyol José María Ruiz de Azagra Sanz (1900-1971), entronca amb la línia d'investigació actual sobre compositors que desenvoluparen el seu treball creatiu principalment durant la postguerra espanyola. Malgrat tractar-se d'un dels compositors més prolífics i populars en la seua època, tant en el gènere del teatre líric (pasdobles, cuplets, revista¿) com en el cinema espanyol dels anys 40 i 50, Ruiz de Azagra ha sigut relegat a l'ostracisme i quasi no existeixen referències a la seua obra i persona, si bé destaquen alguns estudis acadèmics i publicacions especialitzades realitzades per Casares Rodicio, Llisteri o Roldán Garrote que assenyalen algun aspecte de la seua vida i obra dins del teatre líric i de la música cinematogràfica. Els principals objectius d'aquest treball són la presentació i establiment d'una biografia exhaustiva i actualitzada del compositor així com la catalogació de la seua obra. Rere un minuciós treball de camp que va suposar la consulta en un ampli espectre de fonts, fundacions i centres documentals, es presenta junt amb la biografia i el catàleg de l'autor, una anàlisi general de la banda sonora musical per a la pel·lícula La torre de los siete jorobados, així com de algunes composicions per a teatre líric dels anys 50 amb la fi d'establir unes característiques pròpies de composició de l'autor en ambdós gèneres. Per últim, també s'aporta la partitura recuperada per a piano i veu de la cançó Manola lá mitjançant l'audició del registre audiovisual pertanyent a la pel·lícula anteriorment citada.
Traver Navarro, P. (2015). EL COMPOSITOR ESPAÑOL JOSÉ MARÍA RUIZ DE AZAGRA SANZ (1900-1971): BIOGRAFÍA Y OBRA [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/57709
TESIS
Blanc, Renzo Nicolás, Comes Ana Fernández e Lucrecia Matarozzo. "Los pasos". Bachelor's thesis, 2019. http://hdl.handle.net/11086/11450.
Texto completo da fonteArros, Merino Lucia Malén, e Alec Sacha Gross. "Adormideras : fisonomía de un sueño en 360º". Bachelor's thesis, 2020. http://hdl.handle.net/11086/17408.
Texto completo da fonteFil: Arros Merino, Lucia Malén. Universidad Nacional de Córdoba. Facultad de Artes. Departamento Académico de Cine y Televisión; Argentina.
Fil: Gross, Alec Sacha. Universidad Nacional de Córdoba. Facultad de Artes. Departamento Académico de Cine y Televisión; Argentina.
Matélica, Melina Belén, e Stanko María Micaela Torres. "Las puertas de la percepción : cortometraje experimental". Bachelor's thesis, 2019. http://hdl.handle.net/11086/11824.
Texto completo da fonteBASILI, Silvia. "Gli attuali scenari del commercio internazionale dei prodotti agroalimentari, tra vecchie e nuove questioni di sicurezza alimentare: una riflessone comparatistica ta UE, USA e CINA". Doctoral thesis, 2018. http://hdl.handle.net/11393/251081.
Texto completo da fonteLUCHINO, CHIARA. "EcoCina. Eco-city e strategie complementari verso una nuova urbanizzazione cinese". Doctoral thesis, 2017. http://hdl.handle.net/11573/980020.
Texto completo da fonte