Music and voices in Pickpocket (1951), by Robert Bresson

Detalhes bibliográficos
Autor(a) principal: Alvim, Luíza
Data de Publicação: 2014
Tipo de documento: Artigo
Idioma: por
Título da fonte: Galáxia (São Paulo)
Texto Completo: https://revistas.pucsp.br/index.php/galaxia/article/view/17066
Resumo: The French director Robert Bresson was known for his creative use of sound elements and the scanty insertion of music in his films. In films produced during the intermediary phase of his career, such as A man escaped (1956), Pickpocket (1959) and Au hasard Balthazar (1966), preexisting classical music pieces, which contain formal aspects that are analogous to their distribution in the respective films, were used as non-diegetic music. Moreover, in Pickpocket, the preexisting music by Lully also relates to the voice-in and voice-over. The voice-in at the end of the dialogues usually triggers musical excerpts, which are inserted in situations of movement and whose function resembles that of divertissements in baroque opera. We also consider the relations between voice-in and voice-over and the lag between the latter and the action and the image of the main character’s diary as it is being written.
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spelling Music and voices in Pickpocket (1951), by Robert BressonMúsica e vozes em Pickpocket (1959), de Robert Bressonmúsica no cinemaanálise fílmicaanálise musical.Robert Bressonmusic in cinemavoice overvoice infilmic analysismusical analysis.The French director Robert Bresson was known for his creative use of sound elements and the scanty insertion of music in his films. In films produced during the intermediary phase of his career, such as A man escaped (1956), Pickpocket (1959) and Au hasard Balthazar (1966), preexisting classical music pieces, which contain formal aspects that are analogous to their distribution in the respective films, were used as non-diegetic music. Moreover, in Pickpocket, the preexisting music by Lully also relates to the voice-in and voice-over. The voice-in at the end of the dialogues usually triggers musical excerpts, which are inserted in situations of movement and whose function resembles that of divertissements in baroque opera. We also consider the relations between voice-in and voice-over and the lag between the latter and the action and the image of the main character’s diary as it is being written.O cineasta francês Robert Bresson ficou conhecido pelo uso criativo dos diversos elementos sonoros em seus filmes e pela parcimônia na inserção de música. Em obras da fase intermediária de sua carreira, como Um condenado à morte escapou (1956), Pickpocket (1959) e A grande testemunha (1966), peças pré-existentes do repertório clássico foram utilizadas como música extradiegética e possuem aspectos formais que guardam analogias com sua distribuição nos respectivos filmes. Além disso, em Pickpocket, a música pré-existente de Lully também se relaciona com as vozes in e over. Na maioria das vezes, a voz in do final dos diálogos desencadeia os trechos de música, colocados em situações de movimento e com uma função semelhante ao divertimento na ópera barroca. Consideramos tambémas relações entre voz in e over e defasagens desta última com a ação e a imagem do diário do protagonista sendo escrito.PEPG COS-PUC-SP2014-12-17info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://revistas.pucsp.br/index.php/galaxia/article/view/17066Galaxia; No. 28 (2014)GALÁxIA. Revista Interdisciplinar de Comunicação e Cultura; n. 28 (2014)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/17066/15746Alvim, Luízainfo:eu-repo/semantics/openAccess2024-05-15T14:01:13Zoai:ojs.pkp.sfu.ca:article/17066Revistahttps://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:2024-05-15T14:01:13Galáxia (São Paulo) - Pontifícia Universidade Católica de São Paulo (PUC-SP)false
dc.title.none.fl_str_mv Music and voices in Pickpocket (1951), by Robert Bresson
Música e vozes em Pickpocket (1959), de Robert Bresson
title Music and voices in Pickpocket (1951), by Robert Bresson
spellingShingle Music and voices in Pickpocket (1951), by Robert Bresson
Alvim, Luíza
música no cinema
análise fílmica
análise musical.
Robert Bresson
music in cinema
voice over
voice in
filmic analysis
musical analysis.
title_short Music and voices in Pickpocket (1951), by Robert Bresson
title_full Music and voices in Pickpocket (1951), by Robert Bresson
title_fullStr Music and voices in Pickpocket (1951), by Robert Bresson
title_full_unstemmed Music and voices in Pickpocket (1951), by Robert Bresson
title_sort Music and voices in Pickpocket (1951), by Robert Bresson
author Alvim, Luíza
author_facet Alvim, Luíza
author_role author
dc.contributor.author.fl_str_mv Alvim, Luíza
dc.subject.por.fl_str_mv música no cinema
análise fílmica
análise musical.
Robert Bresson
music in cinema
voice over
voice in
filmic analysis
musical analysis.
topic música no cinema
análise fílmica
análise musical.
Robert Bresson
music in cinema
voice over
voice in
filmic analysis
musical analysis.
description The French director Robert Bresson was known for his creative use of sound elements and the scanty insertion of music in his films. In films produced during the intermediary phase of his career, such as A man escaped (1956), Pickpocket (1959) and Au hasard Balthazar (1966), preexisting classical music pieces, which contain formal aspects that are analogous to their distribution in the respective films, were used as non-diegetic music. Moreover, in Pickpocket, the preexisting music by Lully also relates to the voice-in and voice-over. The voice-in at the end of the dialogues usually triggers musical excerpts, which are inserted in situations of movement and whose function resembles that of divertissements in baroque opera. We also consider the relations between voice-in and voice-over and the lag between the latter and the action and the image of the main character’s diary as it is being written.
publishDate 2014
dc.date.none.fl_str_mv 2014-12-17
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/17066
url https://revistas.pucsp.br/index.php/galaxia/article/view/17066
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://revistas.pucsp.br/index.php/galaxia/article/view/17066/15746
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. 28 (2014)
GALÁxIA. Revista Interdisciplinar de Comunicação e Cultura; n. 28 (2014)
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
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