Surfng with James Joyce and Dorothy Lamour. Soundscapes, the Polynesian imaginary and the compositional process of Gilberto Mendes
Autor(a) principal: | |
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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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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 |
_version_ |
1799129330955059200 |