Surfng with James Joyce and Dorothy Lamour. Soundscapes, the Polynesian imaginary and the compositional process of Gilberto Mendes

Detalhes bibliográficos
Autor(a) principal: Valente, Heloísa de Araújo Duarte
Data de Publicação: 2017
Tipo de documento: Artigo
Idioma: por
Título da fonte: Galáxia (São Paulo)
Texto Completo: https://revistas.pucsp.br/index.php/galaxia/article/view/30370
Resumo: In the work of Gilberto Mendes (1922--2016) there is an incessant practice of interfaces with the languages of cinema, literature, theater, advertising, among others. Polynesia, in its 1930s Hollywood representation is a frequent subject. This scene is constructed, from elements presented in the musical code, coming fromViennese aesthetics. Mendes will assimilate this aesthetic in his own work. In the 1950s, the culture of tiki pop emerges, as well as its soundscape created by Martin Denny. It is intended to point out the distant paradise transformations and the role of music in his composition.
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spelling Surfng with James Joyce and Dorothy Lamour. Soundscapes, the Polynesian imaginary and the compositional process of Gilberto MendesSurfando com James Joyce e Dorothy Lamour... O imaginário polinésio no processo composicional de Gilberto MendesGilberto Mendesmúsica polinésiapaisagem sonoracultura tiki popmúsica de cinema.Gilberto MendesPolynesian musicsoundscapetiki pop culturefilm music.In the work of Gilberto Mendes (1922--2016) there is an incessant practice of interfaces with the languages of cinema, literature, theater, advertising, among others. Polynesia, in its 1930s Hollywood representation is a frequent subject. This scene is constructed, from elements presented in the musical code, coming fromViennese aesthetics. Mendes will assimilate this aesthetic in his own work. In the 1950s, the culture of tiki pop emerges, as well as its soundscape created by Martin Denny. It is intended to point out the distant paradise transformations and the role of music in his composition.Na obra de Gilberto Mendes (1922-2016)verifica-se uma prática incessante de interfaces com as linguagens do cinema, da literatura, do teatro, publicidade, dentre outros. A Polinésia em sua representação hollywoodiana da década de 1930 é tema frequente. Este cenário é construído, com base em elementos presentes no código musical, provenientes da estética vienense. Mendes assimilará essa estética em sua obra. Na década de 1950,, eclode a cultura tiki pop e sua paisagem sonora correspondente, representada por Martin Denny. Pretende-se apontar as mutações do paraíso longínquo e o papel da música na sua composição. PEPG COS-PUC-SP2017-12-03info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://revistas.pucsp.br/index.php/galaxia/article/view/30370Galaxia; No. 36 (2017)GALÁxIA. Revista Interdisciplinar de Comunicação e Cultura; n. 36 (2017)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/30370/24127Copyright (c) 2017 Galáxia. Revista do Programa de Pós-Graduação em Comunicação e Semiótica. ISSN 1982-2553info:eu-repo/semantics/openAccessValente, Heloísa de Araújo Duarte2022-06-21T13:56:18Zoai:ojs.pkp.sfu.ca:article/30370Revistahttps://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:2022-06-21T13:56:18Galáxia (São Paulo) - Pontifícia Universidade Católica de São Paulo (PUC-SP)false
dc.title.none.fl_str_mv Surfng with James Joyce and Dorothy Lamour. Soundscapes, the Polynesian imaginary and the compositional process of Gilberto Mendes
Surfando com James Joyce e Dorothy Lamour... O imaginário polinésio no processo composicional de Gilberto Mendes
title Surfng with James Joyce and Dorothy Lamour. Soundscapes, the Polynesian imaginary and the compositional process of Gilberto Mendes
spellingShingle Surfng with James Joyce and Dorothy Lamour. Soundscapes, the Polynesian imaginary and the compositional process of Gilberto Mendes
Valente, Heloísa de Araújo Duarte
Gilberto Mendes
música polinésia
paisagem sonora
cultura tiki pop
música de cinema.
Gilberto Mendes
Polynesian music
soundscape
tiki pop culture
film music.
title_short Surfng with James Joyce and Dorothy Lamour. Soundscapes, the Polynesian imaginary and the compositional process of Gilberto Mendes
title_full Surfng with James Joyce and Dorothy Lamour. Soundscapes, the Polynesian imaginary and the compositional process of Gilberto Mendes
title_fullStr Surfng with James Joyce and Dorothy Lamour. Soundscapes, the Polynesian imaginary and the compositional process of Gilberto Mendes
title_full_unstemmed Surfng with James Joyce and Dorothy Lamour. Soundscapes, the Polynesian imaginary and the compositional process of Gilberto Mendes
title_sort Surfng with James Joyce and Dorothy Lamour. Soundscapes, the Polynesian imaginary and the compositional process of Gilberto Mendes
author Valente, Heloísa de Araújo Duarte
author_facet Valente, Heloísa de Araújo Duarte
author_role author
dc.contributor.author.fl_str_mv Valente, Heloísa de Araújo Duarte
dc.subject.por.fl_str_mv Gilberto Mendes
música polinésia
paisagem sonora
cultura tiki pop
música de cinema.
Gilberto Mendes
Polynesian music
soundscape
tiki pop culture
film music.
topic Gilberto Mendes
música polinésia
paisagem sonora
cultura tiki pop
música de cinema.
Gilberto Mendes
Polynesian music
soundscape
tiki pop culture
film music.
description In the work of Gilberto Mendes (1922--2016) there is an incessant practice of interfaces with the languages of cinema, literature, theater, advertising, among others. Polynesia, in its 1930s Hollywood representation is a frequent subject. This scene is constructed, from elements presented in the musical code, coming fromViennese aesthetics. Mendes will assimilate this aesthetic in his own work. In the 1950s, the culture of tiki pop emerges, as well as its soundscape created by Martin Denny. It is intended to point out the distant paradise transformations and the role of music in his composition.
publishDate 2017
dc.date.none.fl_str_mv 2017-12-03
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/30370
url https://revistas.pucsp.br/index.php/galaxia/article/view/30370
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://revistas.pucsp.br/index.php/galaxia/article/view/30370/24127
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. 36 (2017)
GALÁxIA. Revista Interdisciplinar de Comunicação e Cultura; n. 36 (2017)
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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