Alan Splet’s sound design for David Lynch from the perspective of film horror

Detalhes bibliográficos
Autor(a) principal: de Souza, Fabiano Pereira
Data de Publicação: 2019
Outros Autores: Cánepa, Laura Loguercio, Ferraraz, Rogério
Tipo de documento: Artigo
Idioma: por
Título da fonte: Galáxia (São Paulo)
Texto Completo: https://revistas.pucsp.br/index.php/galaxia/article/view/40744
Resumo: The American sound designer Alan Splet (1939-1994) participated in the production of 25 films. With director David Lynch he created sound effects and ambiences that were freer of links to verisimilitude. They worked together on the short film The Grandmother (1970) and the feature films Eraserhead (1977), The Elephant Man (1980), Dune (1984) and Blue Velvet (1986). The strong surrealist influence in Lynch’s filmography stimulated Splet’s solutions that resemble the sound work of the horror film genre, which is even recognized in the recent 2017 season of the TV series Twin Peaks, directed and with sound design by the filmmaker himself. This article deals with sound editing procedures that are more common in the filmography of this genre, compared to the editing of sound effects of that sound designer.
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spelling Alan Splet’s sound design for David Lynch from the perspective of film horrorO sound design de Alan Splet para David Lynch sob a perspectiva do horror fílmicocinemaTVsound designfilm horrorAlan SpletDavid Lynch.cinemaTVsound designhorror fílmicoAlan SpletDavid Lynch.The American sound designer Alan Splet (1939-1994) participated in the production of 25 films. With director David Lynch he created sound effects and ambiences that were freer of links to verisimilitude. They worked together on the short film The Grandmother (1970) and the feature films Eraserhead (1977), The Elephant Man (1980), Dune (1984) and Blue Velvet (1986). The strong surrealist influence in Lynch’s filmography stimulated Splet’s solutions that resemble the sound work of the horror film genre, which is even recognized in the recent 2017 season of the TV series Twin Peaks, directed and with sound design by the filmmaker himself. This article deals with sound editing procedures that are more common in the filmography of this genre, compared to the editing of sound effects of that sound designer.O sound designer americano Alan Splet (1939-1994) participou da produção de 25 filmes. Com o diretor David Lynch, criou efeitos sonoros e ambiências mais livres de vínculos com a verossimilhança. Eles trabalharam juntos no curta-metragem The grandmother (1970) e nos longas-metragens Eraserhead (1977), O homem elefante (The elephant man, 1980), Duna (Dune, 1984) e Veludo azul (Blue velvet, 1986). A forte influência surrealista na filmografia de Lynch estimulou soluções de Splet que se assemelham ao trabalho de som do gênero cinematográfico do horror, o que se reconhece até na recente temporada de 2017 da série de TV Twin Peaks, com direção e sound design do próprio cineasta. Este artigo aborda os procedimentos de edição de som mais usuais na filmografia desse gênero, comparadosà edição de efeitos sonoros desse sound designer.PEPG COS-PUC-SP2019-11-07info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://revistas.pucsp.br/index.php/galaxia/article/view/40744Galaxia; No. 42 (2019)GALÁxIA. Revista Interdisciplinar de Comunicação e Cultura; n. 42 (2019)1982-2553reponame:Galáxia (São Paulo)instname:Pontifícia Universidade Católica de São Paulo (PUC-SP)instacron:PUC_SPporhttps://revistas.pucsp.br/index.php/galaxia/article/view/40744/30400Copyright (c) 2019 Galáxia. Revista do Programa de Pós-Graduação em Comunicação e Semiótica. ISSN 1982-2553info:eu-repo/semantics/openAccessde Souza, Fabiano PereiraCánepa, Laura LoguercioFerraraz, Rogério2019-11-07T18:05:06Zoai:ojs.pkp.sfu.ca:article/40744Revistahttps://www.pucsp.br/pos-graduacao/mestrado-e-doutorado/comunicacao-e-semioticaPRIhttps://old.scielo.br/oai/scielo-oai.phpcos@pucsp.br||aidarprado@gmail.com1982-25531519-311Xopendoar:2019-11-07T18:05:06Galáxia (São Paulo) - Pontifícia Universidade Católica de São Paulo (PUC-SP)false
dc.title.none.fl_str_mv Alan Splet’s sound design for David Lynch from the perspective of film horror
O sound design de Alan Splet para David Lynch sob a perspectiva do horror fílmico
title Alan Splet’s sound design for David Lynch from the perspective of film horror
spellingShingle Alan Splet’s sound design for David Lynch from the perspective of film horror
de Souza, Fabiano Pereira
cinema
TV
sound design
film horror
Alan Splet
David Lynch.
cinema
TV
sound design
horror fílmico
Alan Splet
David Lynch.
title_short Alan Splet’s sound design for David Lynch from the perspective of film horror
title_full Alan Splet’s sound design for David Lynch from the perspective of film horror
title_fullStr Alan Splet’s sound design for David Lynch from the perspective of film horror
title_full_unstemmed Alan Splet’s sound design for David Lynch from the perspective of film horror
title_sort Alan Splet’s sound design for David Lynch from the perspective of film horror
author de Souza, Fabiano Pereira
author_facet de Souza, Fabiano Pereira
Cánepa, Laura Loguercio
Ferraraz, Rogério
author_role author
author2 Cánepa, Laura Loguercio
Ferraraz, Rogério
author2_role author
author
dc.contributor.author.fl_str_mv de Souza, Fabiano Pereira
Cánepa, Laura Loguercio
Ferraraz, Rogério
dc.subject.por.fl_str_mv cinema
TV
sound design
film horror
Alan Splet
David Lynch.
cinema
TV
sound design
horror fílmico
Alan Splet
David Lynch.
topic cinema
TV
sound design
film horror
Alan Splet
David Lynch.
cinema
TV
sound design
horror fílmico
Alan Splet
David Lynch.
description The American sound designer Alan Splet (1939-1994) participated in the production of 25 films. With director David Lynch he created sound effects and ambiences that were freer of links to verisimilitude. They worked together on the short film The Grandmother (1970) and the feature films Eraserhead (1977), The Elephant Man (1980), Dune (1984) and Blue Velvet (1986). The strong surrealist influence in Lynch’s filmography stimulated Splet’s solutions that resemble the sound work of the horror film genre, which is even recognized in the recent 2017 season of the TV series Twin Peaks, directed and with sound design by the filmmaker himself. This article deals with sound editing procedures that are more common in the filmography of this genre, compared to the editing of sound effects of that sound designer.
publishDate 2019
dc.date.none.fl_str_mv 2019-11-07
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
format article
status_str publishedVersion
dc.identifier.uri.fl_str_mv https://revistas.pucsp.br/index.php/galaxia/article/view/40744
url https://revistas.pucsp.br/index.php/galaxia/article/view/40744
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://revistas.pucsp.br/index.php/galaxia/article/view/40744/30400
dc.rights.driver.fl_str_mv info:eu-repo/semantics/openAccess
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.publisher.none.fl_str_mv PEPG COS-PUC-SP
publisher.none.fl_str_mv PEPG COS-PUC-SP
dc.source.none.fl_str_mv Galaxia; No. 42 (2019)
GALÁxIA. Revista Interdisciplinar de Comunicação e Cultura; n. 42 (2019)
1982-2553
reponame:Galáxia (São Paulo)
instname:Pontifícia Universidade Católica de São Paulo (PUC-SP)
instacron:PUC_SP
instname_str Pontifícia Universidade Católica de São Paulo (PUC-SP)
instacron_str PUC_SP
institution PUC_SP
reponame_str Galáxia (São Paulo)
collection Galáxia (São Paulo)
repository.name.fl_str_mv Galáxia (São Paulo) - Pontifícia Universidade Católica de São Paulo (PUC-SP)
repository.mail.fl_str_mv cos@pucsp.br||aidarprado@gmail.com
_version_ 1799129331706888192

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