Uma entrevista com Claudia Gorbman (original) (raw)
Related papers
Review of Claudia Gorbman, ed., Unheard Melodies: Narrative Film Music
1990
Reviewed by Richard Littlefield Music analysts who have ventured into film theory, only to be let down by anemic interpretations of film music, will find a refreshing alternative in Unheard Melodies. Claudia Gorbman's book is not another list of composing tips nor set of interviews with representative composers. Written by a film scholar and sensitive musician, Unheard Melodies is a systematic and provocative study of the power of music to shape our perception of narrative. Part I sets out to answer two questions. "What is music doing in the movies, and how does it do it?" (p. 2). The first divides into questions about how music got into movies and what music does to us as we watch them, with "movie" considered a mix of narrative, technology, and social institution. Chapter 2 rehearses the fascinating and uneven transition from (not so) silent to sound film, and the standard explanations for why music is in the movies: pragmatic, to drown out projector noise; historical, a natural outgrowth of opera and vaudeville; aesthetic, to replace speech; psychological-anthropological.
Musica e film - Seconda parte: Le funzioni della musica
Tutti sappiamo che la colonna sonora gioca un ruolo importante in un film. Ma quali specifiche funzioni svolge la musica rispetto agli altri elementi di un film? E come riesce a comunicarci emozioni e a contribuire al significato globale della nostra esperienza cinematografica? Nella seconda parte di questo Laboratorio Interattivo esploreremo le diverse funzioni che la musica può svolgere rispetto all'immagine. La Prima parte: L'interazione tra visivo e sonoro è pure disponibile su Academia.edu
This article focuses on the film music of Alberto Ginastera, a repertoire that remains largely unknown and that the composer produced outside of the space of his officially catalogued works. For many years, logistical difficulties impeded a detailed study of this repertoire since the visual film footage resided in Buenos Aires and the corresponding music manuscripts were housed at the Paul Sacher Stiftung in Basel, Switzerland, where the Ginastera collection is stored. Recent developments, however, have made it possible to coordinate study of the sources and conceptually bring film and score back together again. This article presents the preliminary results of such an investigation. Here I argue that the film music not only fills in a map of the composer’s uncharted territory, but serves as a site for exploring new critical issues in Ginastera scholarship.
Los Sonidos del cine: Cinematic Music in Mexican Film, 1930-1950
2011
There are several people and organizations that have helped in this long process. First, I express my sincere gratitude to my dissertation committee, Byron Adams, Walter Clark, and my chair, Leonora Saavedra. Throughout my time at UC Riverside, each member has provided much needed feedback, recommendations, advice, and encouragement. I would especially like to thank Leonora Saavedra who always pushed me further than I thought I could go. I am indebted to the music faculty at UC Riverside who have all helped me throughout my graduate career. In particular, I want to thank Jonathan Ritter for his help and guidance particularly in the sections regarding Cuban music, and for his overall good nature. Outside of the music department, I thank Keith Harris from the department of media and cultural studies who was an invaluable source of film history and analysis when I first immersed myself into film music and sound theory.
Musicology, Issue 32, 2022
The subject of this paper is the unconventional and highly subversive treatment of musical material of folkloric origin in the films of Pedro Almodóvar: 'Pepi, Luci, Bom and Other Girls on the Heap' ('Pepi, Luci, Bom y otras chicas del montón', 1980) and 'Labyrinth of Passion' ('Laberinto de pasiones', 1982). These films are representative examples of the director's experimental artistic poetics based on the interweaving of local and global cultural features. The focus is, therefore, on the folkloric elements of the Spanish and Catalan musical tradition and their transformation and recontextualisation in relation to the socio-political reality of post-fascist Spain. Consequently, well-known theatrical musical pieces and dances such as the pasodoble, zarzuela and sardana acquire transgressive qualities through an unusual play with traditional and postmodern signifiers, aimed at overthrowing conservative patriarchal authority under the Francoist regime.
Musica e film - Prima parte: L'interazione tra visivo e sonoro
Tutti sappiamo che la colonna sonora gioca un ruolo importante in un film. Ma quali specifiche funzioni svolge la musica rispetto agli altri elementi di un film? E come riesce a comunicarci emozioni e a contribuire al significato globale della nostra esperienza cinematografica? Un Laboratorioo Interattivo in due parti. La Seconda parte: Le funzioni della musica è pure disponibile su Academia.edu
INTERNATIONAL JOURNAL OF FILM AND MEDIA ARTS
This paper provides an overview on the concept of musicality in fiction cinema language, understanding the comparative analysis of both art forms and considering cinema as a potentially musical construction. Furthermore, the examination of polyphonic musical textures and its methodical application in the formal analysis of Lucrecia Martel's cinema (namely in her 2007 film The Headless Woman) provides a new perspective on the aesthetical values of the Argentinean filmmaker's work with sound and image, which unveils other forms of assuming fiction film narration.