A triumph of apprentices: sound in The Texas Chain Saw Massacre
Autor(a) principal: | |
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Data de Publicação: | 2018 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Galáxia (São Paulo) |
Texto Completo: | https://revistas.pucsp.br/index.php/galaxia/article/view/33135 |
Resumo: | An influential lm in the consolidation of a very popular realistic semidocumentary aesthetics in contemporary horror films, The Texas Chain Saw Massacre (Tobe Hooper, 1974) has gained, over the years, innovative status for anticipating the boom of the slasher subgenre, and exploiting the rawness of its images. However, little is said of the bold nature of the sounds that contribute to frighten the audience. This essay aims to reconstruct the creative process of the soundtrack, highlighting the major presence of students and young aspiring professionals in the team responsible for the sound design, and emphasizing how the relative ignorance of professional post-production practices helped to scramble the boundaries between music and sound effects, thus reinforcing an innovative stylistic trend that in uences contemporary cinema. |
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A triumph of apprentices: sound in The Texas Chain Saw MassacreUm triunfo de aprendizes: o som em O Massacre da Serra ElétricaAnálise fílmicahorrorsound designfilm analysishorrorsound design.An influential lm in the consolidation of a very popular realistic semidocumentary aesthetics in contemporary horror films, The Texas Chain Saw Massacre (Tobe Hooper, 1974) has gained, over the years, innovative status for anticipating the boom of the slasher subgenre, and exploiting the rawness of its images. However, little is said of the bold nature of the sounds that contribute to frighten the audience. This essay aims to reconstruct the creative process of the soundtrack, highlighting the major presence of students and young aspiring professionals in the team responsible for the sound design, and emphasizing how the relative ignorance of professional post-production practices helped to scramble the boundaries between music and sound effects, thus reinforcing an innovative stylistic trend that in uences contemporary cinema. Filme influente na consolidação de uma estética semidocumental muito popular no cinema de horror contemporâneo, O massacre da serra elétrica (The Texas chain saw massacre, Tobe Hooper, 1974) ganhou status de inovador, com o passar dos anos, por ter antecipado a explosão do subgênero slasher, e por causa da crueza das imagens. No entanto, pouco se fala do caráter arrojado dos sons que contribuem para assustar o público do filme. Este ensaio tem o objetivo de reconstituir o processo criativo da trilha sonora, destacando a presença majoritária de estudantes e aprendizes na equipe responsável pelo sound design, e enfatizando o modo pelo qual o relativo desconhecimento das práticas profissionais de pós-produção embaralhou as fronteiras entre música e efeitos sonoros, reforçando uma tendência estilística inovadora que influencia o cinema contemporâneo. PEPG COS-PUC-SP2018-08-01info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://revistas.pucsp.br/index.php/galaxia/article/view/33135Galaxia; No. 38 (2018)GALÁxIA. Revista Interdisciplinar de Comunicação e Cultura; n. 38 (2018)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/33135/25722Copyright (c) 2018 Galáxia. Revista do Programa de Pós-Graduação em Comunicação e Semiótica. ISSN 1982-2553info:eu-repo/semantics/openAccessCarreiro, Rodrigo2018-08-01T19:09:04Zoai:ojs.pkp.sfu.ca:article/33135Revistahttps://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:2018-08-01T19:09:04Galáxia (São Paulo) - Pontifícia Universidade Católica de São Paulo (PUC-SP)false |
dc.title.none.fl_str_mv |
A triumph of apprentices: sound in The Texas Chain Saw Massacre Um triunfo de aprendizes: o som em O Massacre da Serra Elétrica |
title |
A triumph of apprentices: sound in The Texas Chain Saw Massacre |
spellingShingle |
A triumph of apprentices: sound in The Texas Chain Saw Massacre Carreiro, Rodrigo Análise fílmica horror sound design film analysis horror sound design. |
title_short |
A triumph of apprentices: sound in The Texas Chain Saw Massacre |
title_full |
A triumph of apprentices: sound in The Texas Chain Saw Massacre |
title_fullStr |
A triumph of apprentices: sound in The Texas Chain Saw Massacre |
title_full_unstemmed |
A triumph of apprentices: sound in The Texas Chain Saw Massacre |
title_sort |
A triumph of apprentices: sound in The Texas Chain Saw Massacre |
author |
Carreiro, Rodrigo |
author_facet |
Carreiro, Rodrigo |
author_role |
author |
dc.contributor.author.fl_str_mv |
Carreiro, Rodrigo |
dc.subject.por.fl_str_mv |
Análise fílmica horror sound design film analysis horror sound design. |
topic |
Análise fílmica horror sound design film analysis horror sound design. |
description |
An influential lm in the consolidation of a very popular realistic semidocumentary aesthetics in contemporary horror films, The Texas Chain Saw Massacre (Tobe Hooper, 1974) has gained, over the years, innovative status for anticipating the boom of the slasher subgenre, and exploiting the rawness of its images. However, little is said of the bold nature of the sounds that contribute to frighten the audience. This essay aims to reconstruct the creative process of the soundtrack, highlighting the major presence of students and young aspiring professionals in the team responsible for the sound design, and emphasizing how the relative ignorance of professional post-production practices helped to scramble the boundaries between music and sound effects, thus reinforcing an innovative stylistic trend that in uences contemporary cinema. |
publishDate |
2018 |
dc.date.none.fl_str_mv |
2018-08-01 |
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/33135 |
url |
https://revistas.pucsp.br/index.php/galaxia/article/view/33135 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://revistas.pucsp.br/index.php/galaxia/article/view/33135/25722 |
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. 38 (2018) GALÁxIA. Revista Interdisciplinar de Comunicação e Cultura; n. 38 (2018) 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_ |
1799129331283263488 |