Alan Splet’s sound design for David Lynch from the perspective of film horror
Autor(a) principal: | |
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Data de Publicação: | 2019 |
Outros Autores: | , |
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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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 |