8 resultados para Cinema Sonoplastia
em CORA - Cork Open Research Archive - University College Cork - Ireland
Resumo:
Globalisation has transformed independence into, at best, inter-dependence. In Latin American film, this process has been experienced as a decline in the national productions, now usually co-productions, and a tendency towards the self-exoticising as films cater for a festival-circuit global audience; similarly, theatrical exhibition takes place in one of a handful of the global multiplex complexes. Moreover, narrative film itself has long been regarded as inherently dependent, on the conservative sectors that have provided its finance, with the word independent referring to authorial features only. However, the very same processes that have allowed for such an unprecedented corporate control of these film industries have also spawned a parallel network of local, regional and national filmmaking, distribution and exhibition through digital media. From the Mi Cine project in Mexico to the Cine Piquetero in Argentina, digital filmmaking is empowering viewers and restoring agency to local filmmakers. In this paper I argue for this understanding of independence in the contemporary cinematic spheres of Latin America: the re-appropriation, amidst the transnationalism of the day, of the democratising potential of cinema that Walter Benjamin once thought was inherent to the medium.
Resumo:
A radical change took place in Mexican narratives of belonging during the 1990s, when NAFTA was first negotiated. Narratives of migration drastically changed the status of Mexican migrants to the US, formerly derided as pochos, presenting them as model citizens instead. Following Derrida, I argue the role of the migrant became that of a supplement, which is, discursively, at the same time external to and part of a given unit, standing for and allowing deeper transformations to take place in the whole discourse of bilateral relations and national identity more generally. I use Derridas concept of the supplement to discuss changing representations of Chicanos in Mexican cinema, and to assess the extent that they have succeeded in reframing the discourse on national identity, with a focus on gender.
Resumo:
This thesis focuses on two Western European cinematic cities, and two unique periods of their respective nations histories, in a bid to locate the transnational within a contemporary European milieu. I argue that my geo-cinematic case studies are emblematic of broader questions of the problematics of national identity in contemporary Europe in the face of cross-national flows yet, as a result of their representations as cities both anchored and in flux, they reject a European postnational identity. Through its engagement with cinematic Rome as the Eternal City of Europe and cinematic Dublin as the newly Europeanised city, my thesis traces how representations and aesthetics of the urban spaces of these two cities correspond with the tensions at the heart of the respective eras in question. Via the figures that inhabit it, navigate it and search for it, the city is utilised to highlight fixity and mobility, centrality and dislocation, in explicit and implicit ways, amid the rapidly changing landscape of its national terrain. It is through my analyses of the filmed places and sociopolitical, socioeconomic and sociocultural spaces of these capital cities under the rubric of the transnational that this research demonstrates the pluralities of the construct in its cinematic manifestations. It is also my aim to evaluate the concept of cinematic transnationalism when identifying and accounting for representations of a specific national, historical timeframe, when the momentousness of the changes that occur is not bound by the national, but rather is reflective of the influence of both domestic and external forces. To this end, my thesis draws attention to instances in which the nation is shown to persist and resist dilution, arguing that it is only against the backdrop and continuity of the nation (in its evershifting guises) that the transnational can be conceived in representative and aesthetic terms.
Resumo:
It is difficult to overstate the importance of Juan Rulfos two major pieces of fictional narrative workhis haunting, enigmatic novel Pedro Pramo (1955) and his unrelenting depictions of the failures of post-revolutionary Mexico in his short story collection El Llano en llamas (1953). In her foreword to the Margaret Sayers Peden English translation, Susan Sontag hails Pedro Pramo as not only one of the masterpieces of 20th Century world literature, but one of the most influential of the centurys books. Garca Mrquez has compared the influence of Rulfo on 20th Century world literature to that of Sophocles: No son ms de 300 pginas, pero son casi tantas y creo tan perdurables como las que conocemos de Sfocles and, completing this oftrepeated triumvirate of recommendations, Jorge Luis Borges has referred to Pedro Pramo as: una de las mejores novelas de las literaturas de lengua hispnica, y aun de la literatura. Despite the praise heaped upon Rulfos two most famous books, when his third book of fiction, El gallo de oro y otros textos para cine, was finally published in 1980, just six years before his death, it was greeted with almost critical silence. It is precisely this publication that provides the focus of this investigation. The collection contains three textsEl despojo, La frmula secreta and El gallo de oro. Constituting a third of the fictional work he published in his lifetime, expanding upon themes present in El Llano en llamas and Pedro Pramo while, at the same time, examining new ground, no thematic discussion of Rulfos written output is complete without including these texts. Yet they are frequently dismissed. In this way this investigation attempts to go some way towards filling this critical gap in the work of one of the most influential writers of the twentieth century
Resumo:
Reflecting on Gus Van Sants films Gerry (2003) Elephant (2004) and Last Days (2005), the directors long-term sound-designer Leslie Shatz observed that You have to get into the totality of the experience and not just the dialogue. Shatzs comment expresses something fundamental about the experimental approach to cinema and to soundscapes undertaken by Van Sant in these three films, unofficially known as the Death Trilogy. This thesis contends that Van Sant makes deliberate aesthetic choices which do indicate a distinctly auteurist leaning. However, I also argue that intertextual elements, prior knowledge, and audience participation in meaningmaking enhance the experience of, and reveal the nuances in, the soundtracks themselves. This thesis aims to contribute to a growing body of work within filmmusic scholarship concerned with resisting a traditional bias in the field: that film music should be understood as a means of characterisation and as emotional signifier. The films of the Death Quartet, which includes Paranoid Park (2007), I believe, offer fertile ground on which to explore these new approaches. It is my contention that these films deconstruct the traditional approach to soundtracking and the relationship between soundtrack and character, and that only an approach sensitive to the aesthetic and philosophical functions of music and sound can adequately acknowledge their unique cinematic qualities.
