Cartografia musical no cinema: um estudo sobre a crítica cultural dos processos criativos em sociedades mestiças
Autor(a) principal: | |
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Data de Publicação: | 2017 |
Tipo de documento: | Tese |
Idioma: | por |
Título da fonte: | Biblioteca Digital de Teses e Dissertações da PUC_SP |
Texto Completo: | https://tede2.pucsp.br/handle/handle/20200 |
Resumo: | Governmental laws to foment culture helped the growth of audiovisual production throughout the country. But outside the Rio-São Paulo axis, alike the state of Mato Grosso, little is known about its production, even if there is a concern with the local culture related to the cinematographic scene. We start from notes made by journalistic critics about a given context, which, possibly subjugated by molds primarily, is understood in a marginalized way compared to national production; and we also include the music of this scope, which, even as part of the audiovisual context, is not always considered by critics. Therefore, our object of study is the sonorous-musical relation in the cinematographic composition. We have as corpus the sonorities used in the fiction cinema outside the Rio-São Paulo axis, present in the national film catalog of ANCINE (2006), in which the works of Mato Grosso are contemplated, the only ones supported until now by the, nationwide, Rouanet law. This way, we question ourselves, if a cartography of the sound-musical contexts for this environment would provide a critical analysis, moving beyond "cultural imprinting" (MORIN, 1992), and hypothetically, making the languages present in the cinema critical elements. Our objective is to locate indicators, among the sound elements articulated to the audiovisual languages, able to define the study on the relations between sonorous objects, cultural critics and mixed societies. We justify this study by the novelty of the corpus and approach, in the face of the fragmentation of scientific studies, in theoretical scarcity with a cognitivist clipping about the referred context. The research has a theoretical backing on cultural processes, miscegenation and cultural criticism, with authors such as Iuri Lotman, François Laplantine and Amálio Pinheiro; about musical object, with Silvio Ferraz and Flô Menezes; the relations of music in the audiovisual, with Michel Chion and Lívio Tragtenberg; and other authors, considered for specific and interrelated issues between the fields of study. Methodologically, we make a qualitative approach, facing the processes - bibliography, field research, data collect, description and analysis of the corpus - and in their articulations. The thesis, defended, is that the study of sound elements, within their relations, becomes a critical object, providing the study of cinematographic languages and cultural intertextualities in complex societies, in short, musical cartography as a way of knowing about the cultural criticism in mixed societies. Thus, the corpus, of a musical beginning, offers us a complex approach on the proposed discussions; and to be considered, also, by other researches and fields of study |
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Pinheiro, AmálioSantos, Ana Cecília dos2017-07-11T12:43:02Z2017-06-28Santos, Ana Cecília dos. Cartografia musical no cinema: um estudo sobre a crítica cultural dos processos criativos em sociedades mestiças. 2017. 180 f. Tese (Doutorado em Comunicação e Semiótica) - Programa de Estudos Pós-Graduados em Comunicação e Semiótica, Pontifícia Universidade Católica de São Paulo, São Paulo. 2017.https://tede2.pucsp.br/handle/handle/20200Governmental laws to foment culture helped the growth of audiovisual production throughout the country. But outside the Rio-São Paulo axis, alike the state of Mato Grosso, little is known about its production, even if there is a concern with the local culture related to the cinematographic scene. We start from notes made by journalistic critics about a given context, which, possibly subjugated by molds primarily, is understood in a marginalized way compared to national production; and we also include the music of this scope, which, even as part of the audiovisual context, is not always considered by critics. Therefore, our object of study is the sonorous-musical relation in the cinematographic composition. We have as corpus the sonorities used in the fiction cinema outside the Rio-São Paulo axis, present in the national film catalog of ANCINE (2006), in which the works of Mato Grosso are contemplated, the only ones supported until now by the, nationwide, Rouanet law. This way, we question ourselves, if a cartography of the sound-musical contexts for this environment would provide a critical analysis, moving beyond "cultural imprinting" (MORIN, 1992), and hypothetically, making the languages present in the cinema critical elements. Our objective is to locate indicators, among the sound elements articulated to the audiovisual languages, able to define the study on the relations between sonorous objects, cultural critics and mixed societies. We justify this study by the novelty of the corpus and approach, in the face of the fragmentation of scientific studies, in theoretical scarcity with a cognitivist clipping about the referred context. The research has a theoretical backing on cultural processes, miscegenation and cultural criticism, with authors such as Iuri Lotman, François Laplantine and Amálio Pinheiro; about musical object, with Silvio Ferraz and Flô Menezes; the relations of music in the audiovisual, with Michel Chion and Lívio Tragtenberg; and other authors, considered for specific and interrelated issues between the fields of study. Methodologically, we make a qualitative approach, facing the processes - bibliography, field research, data collect, description and analysis of the corpus - and in their articulations. The thesis, defended, is that the study of sound elements, within their relations, becomes a critical object, providing the study of cinematographic languages and cultural intertextualities in complex societies, in short, musical cartography as a way of knowing about the cultural criticism in mixed societies. Thus, the corpus, of a musical beginning, offers us a complex approach on the proposed discussions; and to be considered, also, by other researches and fields of studyAs leis governamentais de fomento à cultura auxiliaram o crescimento da produção audiovisual em todo o País. Mas, fora do eixo Rio-São Paulo, a exemplo do Estado de Mato Grosso, sabe-se pouco sobre sua produção, mesmo que haja uma preocupação com a cultura local frente ao cenário cinematográfico. Partimos de apontamentos feitos pela crítica jornalística sobre um contexto determinado, o qual, subjugado, possivelmente, por moldes à priori, é compreendido de forma marginalizada frente à produção nacional; e incluímos, ainda, a música deste ambiente, a qual, mesmo como parte do contexto audiovisual, nem sempre é considerada pela crítica. Assim, nosso objeto de estudo é a relação sonoro-musical na composição cinematográfica. Temos como corpus as sonoridades empregadas no cinema de ficção fora do eixo Rio-São Paulo, presentes no catálogo de filmes nacionais da ANCINE (2006), no qual estão presentes as obras mato-grossensses, únicas amparadas até o presente momento pela lei Rouanet, de abrangência nacional. Questionamo-nos, dessa forma, se uma cartografia dos contextos sonoro-musicais para esse ambiente proporcionaria uma análise crítica, caminhando além dos “imprintings culturais” (MORIN, 1992), e, hipoteticamente, tornando as linguagens presentes no cinema elementos críticos. Nosso objetivo é localizar indicadores, entre os elementos sonoros articulados às linguagens audiovisuais, capazes de demarcar o estudo sobre as relações entre objeto sonoro, crítica cultural e sociedades mestiças. Justificamos este estudo pelo ineditismo do corpus e abordagem, frente à fragmentação dos estudos científicos, em escassez teórica com recorte cognitivista sobre o contexto referido. A pesquisa tem aporte teórico sobre processos culturais, mestiçagem e crítica cultural, com autores como Iuri Lotman, François Laplantine, Edgar Morin e Amálio Pinheiro; sobre objeto musical, com Silvio Ferraz e Flô Menezes; as relações da música no audiovisual, com Michel Chion e Lívio Tragtenberg; e demais autores, considerados por questões pontuais e inter-relacionais entre os campos de estudo. Metodologicamente, fazemos uma abordagem qualitativa, frente aos processos – bibliografia, pesquisa de campo, coleta de dados, descrição e análise do corpus – e em suas articulações. A tese, defendida, é a de que o estudo dos elementos sonoros, dentro de suas relações, torna-se objeto crítico, proporcionando o estudo das linguagens cinematográficas e intertextualidades culturais em sociedades complexas, em suma, a cartografia musical como modo de conhecimento sobre a crítica cultural em sociedades mestiças. Assim, o corpus, de partida musical, oferece-nos uma complexa abordagem sobre as discussões propostas; e a de vir considerado, também, por outras pesquisas e campos de estudoCoordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPESapplication/pdfhttp://tede2.pucsp.br/tede/retrieve/42690/Ana%20Cec%c3%adlia%20dos%20Santos.pdf.jpgporPontifícia Universidade Católica de São PauloPrograma de Estudos Pós-Graduados em Comunicação e SemióticaPUC-SPBrasilFaculdade de Filosofia, Comunicação, Letras e ArtesCrítica culturalCartografia musicalCinemaSigno sonoroCultural criticismMusical cartographySound signCNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAOCartografia musical no cinema: um estudo sobre a crítica cultural dos processos criativos em sociedades mestiçasinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/doctoralThesisinfo:eu-repo/semantics/openAccessreponame:Biblioteca Digital de Teses e Dissertações da PUC_SPinstname:Pontifícia Universidade Católica de São Paulo (PUC-SP)instacron:PUC_SPTEXTAna Cecília dos Santos.pdf.txtAna Cecília dos Santos.pdf.txtExtracted texttext/plain473761https://repositorio.pucsp.br/xmlui/bitstream/handle/20200/4/Ana%20Cec%c3%adlia%20dos%20Santos.pdf.txt66b0e6101e8dc52ae268b0cbdec6720aMD54LICENSElicense.txtlicense.txttext/plain; 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dc.title.por.fl_str_mv |
Cartografia musical no cinema: um estudo sobre a crítica cultural dos processos criativos em sociedades mestiças |
title |
Cartografia musical no cinema: um estudo sobre a crítica cultural dos processos criativos em sociedades mestiças |
spellingShingle |
Cartografia musical no cinema: um estudo sobre a crítica cultural dos processos criativos em sociedades mestiças Santos, Ana Cecília dos Crítica cultural Cartografia musical Cinema Signo sonoro Cultural criticism Musical cartography Sound sign CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO |
title_short |
Cartografia musical no cinema: um estudo sobre a crítica cultural dos processos criativos em sociedades mestiças |
title_full |
Cartografia musical no cinema: um estudo sobre a crítica cultural dos processos criativos em sociedades mestiças |
title_fullStr |
Cartografia musical no cinema: um estudo sobre a crítica cultural dos processos criativos em sociedades mestiças |
title_full_unstemmed |
Cartografia musical no cinema: um estudo sobre a crítica cultural dos processos criativos em sociedades mestiças |
title_sort |
Cartografia musical no cinema: um estudo sobre a crítica cultural dos processos criativos em sociedades mestiças |
author |
Santos, Ana Cecília dos |
author_facet |
Santos, Ana Cecília dos |
author_role |
author |
dc.contributor.advisor1.fl_str_mv |
Pinheiro, Amálio |
dc.contributor.author.fl_str_mv |
Santos, Ana Cecília dos |
contributor_str_mv |
Pinheiro, Amálio |
dc.subject.por.fl_str_mv |
Crítica cultural Cartografia musical Cinema |
topic |
Crítica cultural Cartografia musical Cinema Signo sonoro Cultural criticism Musical cartography Sound sign CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO |
dc.subject.eng.fl_str_mv |
Signo sonoro Cultural criticism Musical cartography Sound sign |
dc.subject.cnpq.fl_str_mv |
CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO |
description |
Governmental laws to foment culture helped the growth of audiovisual production throughout the country. But outside the Rio-São Paulo axis, alike the state of Mato Grosso, little is known about its production, even if there is a concern with the local culture related to the cinematographic scene. We start from notes made by journalistic critics about a given context, which, possibly subjugated by molds primarily, is understood in a marginalized way compared to national production; and we also include the music of this scope, which, even as part of the audiovisual context, is not always considered by critics. Therefore, our object of study is the sonorous-musical relation in the cinematographic composition. We have as corpus the sonorities used in the fiction cinema outside the Rio-São Paulo axis, present in the national film catalog of ANCINE (2006), in which the works of Mato Grosso are contemplated, the only ones supported until now by the, nationwide, Rouanet law. This way, we question ourselves, if a cartography of the sound-musical contexts for this environment would provide a critical analysis, moving beyond "cultural imprinting" (MORIN, 1992), and hypothetically, making the languages present in the cinema critical elements. Our objective is to locate indicators, among the sound elements articulated to the audiovisual languages, able to define the study on the relations between sonorous objects, cultural critics and mixed societies. We justify this study by the novelty of the corpus and approach, in the face of the fragmentation of scientific studies, in theoretical scarcity with a cognitivist clipping about the referred context. The research has a theoretical backing on cultural processes, miscegenation and cultural criticism, with authors such as Iuri Lotman, François Laplantine and Amálio Pinheiro; about musical object, with Silvio Ferraz and Flô Menezes; the relations of music in the audiovisual, with Michel Chion and Lívio Tragtenberg; and other authors, considered for specific and interrelated issues between the fields of study. Methodologically, we make a qualitative approach, facing the processes - bibliography, field research, data collect, description and analysis of the corpus - and in their articulations. The thesis, defended, is that the study of sound elements, within their relations, becomes a critical object, providing the study of cinematographic languages and cultural intertextualities in complex societies, in short, musical cartography as a way of knowing about the cultural criticism in mixed societies. Thus, the corpus, of a musical beginning, offers us a complex approach on the proposed discussions; and to be considered, also, by other researches and fields of study |
publishDate |
2017 |
dc.date.accessioned.fl_str_mv |
2017-07-11T12:43:02Z |
dc.date.issued.fl_str_mv |
2017-06-28 |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
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info:eu-repo/semantics/doctoralThesis |
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dc.identifier.citation.fl_str_mv |
Santos, Ana Cecília dos. Cartografia musical no cinema: um estudo sobre a crítica cultural dos processos criativos em sociedades mestiças. 2017. 180 f. Tese (Doutorado em Comunicação e Semiótica) - Programa de Estudos Pós-Graduados em Comunicação e Semiótica, Pontifícia Universidade Católica de São Paulo, São Paulo. 2017. |
dc.identifier.uri.fl_str_mv |
https://tede2.pucsp.br/handle/handle/20200 |
identifier_str_mv |
Santos, Ana Cecília dos. Cartografia musical no cinema: um estudo sobre a crítica cultural dos processos criativos em sociedades mestiças. 2017. 180 f. Tese (Doutorado em Comunicação e Semiótica) - Programa de Estudos Pós-Graduados em Comunicação e Semiótica, Pontifícia Universidade Católica de São Paulo, São Paulo. 2017. |
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Faculdade de Filosofia, Comunicação, Letras e Artes |
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Pontifícia Universidade Católica de São Paulo |
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