A carregar...
Publicação
A change in the language, a change in the thinking, a change in the music: a música na obra de Alan Moore adaptada ao cinema
| Nome: | Descrição: | Tamanho: | Formato: | |
|---|---|---|---|---|
| 3.04 MB | Adobe PDF |
Autores
Orientador(es)
Resumo(s)
Esta dissertação propõe uma aproximação à Banda Desenhada (BD) –chamada também
narrativa gráfica ou arte sequencial– a partir de uma perspetiva musicológica. Durante a
segunda metade do século XX, a BD experimentou um processo transformador, onde a
música desempenhou um papel importante. Este processo, que atingiu o seu auge na
década de 1980, consolidou o seu estatuto de disciplina artística e despertou o interesse
da investigação académica. Porém, a crítica musicológica tem-se mostrado cautelosa até
agora, apesar dos inúmeros vínculos musicais que o meio apresenta.
O reconhecimento cultural da narrativa gráfica é particularmente evidente quando
examinamos a sua simbiose atual com a sétima arte. Durante os últimos vinte anos, o
mundo da BD tem inspirado um grande número de filmes. Este fenómeno constitui uma
oportunidade para a crítica musicológica, uma vez que o cinema elimina as
condicionantes da narrativa gráfica enquanto meio silencioso. O estudo comparado de
ambas as disciplinas pode, na nossa opinião, fazer emergir estratégias musicais menos
óbvias.
A obra do escritor inglês Alan Moore é especialmente relevante para levar a cabo este
tipo de trabalho. O autor não só faz um uso copioso dos intertextos musicais como
também pratica uma escrita capaz de ser entendida esteticamente em termos sonoros.
Além disso, Moore possui cinco BD adaptadas ao grande ecrã: From Hell, The League of
Extraordinary Gentlemen, V for Vendetta, Watchmen e Batman: The Killing Joke.
Mediante um exame pormenorizado de cada obra, pretendemos aprofundar o diálogo que
cada meio estabelece com a dimensão musical, aproveitando a variedade temática para
nos focarmos em assuntos diversos. Entre eles, destacamos o impacto do discurso gráficonarrativo
na partitura do filme, o tratamento da intertextualidade e as suas repercussões
sociopolíticas, as construções literárias que integram a música como veículo expressivo
e as estratégias musicais presentes na dimensão visual da BD e do filme.
This dissertation proposes an approach to Comics Books –often referred to as graphic narrative or sequential art– through the perspective of musicology. During the second half of the 20th century, comics have undergone a process of transformation in which music has played an important part. This process, reaching its peak in the decade of 1980s, reassured the role of comics as an artistic discipline while also arising interest in it through academic research. Nevertheless, musicological research has shown itself cautious until today, despite numerous proofs of the musical connections of this medium. When examining the current symbiosis of graphic narrative with cinema, its cultural relevance becomes undeniable. Throughout the past twenty years, comics have inspired the creation of a substantial number of movies. This phenomenon allows a unique opportunity for musicology, since cinema eliminates the limitations of the graphic narrative as a silent medium. A compared study of both subjects can, from our point of view, allow less obvious musical strategies to arise. The oeuvre of the British writer Alan Moore is particularly relevant when taking on this kind of research. The author, while having a writing style that is capable of being comprehended and translated into sound, also makes abundant use of musical intertextuality. Moreover, Moore has written five graphic novels that have been adapted into the big screen: From Hell, The League of Extraordinary Gentlemen, V for Vendetta, Watchmen and Batman: The Killing Joke. By conducting a comprehensive examination of each work, we intend to go in depth into the dialogue both mediums establish with its musical dimension. Within these, we highlight the impact of the graphic-narrative discourse in the movie soundtrack, the way musical intertextuality is presented and its sociopolitical repercussions, the literary constructions that assimilate music as an expressive resource and the musical strategies present in the visual dimension of comic books and movies.
This dissertation proposes an approach to Comics Books –often referred to as graphic narrative or sequential art– through the perspective of musicology. During the second half of the 20th century, comics have undergone a process of transformation in which music has played an important part. This process, reaching its peak in the decade of 1980s, reassured the role of comics as an artistic discipline while also arising interest in it through academic research. Nevertheless, musicological research has shown itself cautious until today, despite numerous proofs of the musical connections of this medium. When examining the current symbiosis of graphic narrative with cinema, its cultural relevance becomes undeniable. Throughout the past twenty years, comics have inspired the creation of a substantial number of movies. This phenomenon allows a unique opportunity for musicology, since cinema eliminates the limitations of the graphic narrative as a silent medium. A compared study of both subjects can, from our point of view, allow less obvious musical strategies to arise. The oeuvre of the British writer Alan Moore is particularly relevant when taking on this kind of research. The author, while having a writing style that is capable of being comprehended and translated into sound, also makes abundant use of musical intertextuality. Moreover, Moore has written five graphic novels that have been adapted into the big screen: From Hell, The League of Extraordinary Gentlemen, V for Vendetta, Watchmen and Batman: The Killing Joke. By conducting a comprehensive examination of each work, we intend to go in depth into the dialogue both mediums establish with its musical dimension. Within these, we highlight the impact of the graphic-narrative discourse in the movie soundtrack, the way musical intertextuality is presented and its sociopolitical repercussions, the literary constructions that assimilate music as an expressive resource and the musical strategies present in the visual dimension of comic books and movies.
Descrição
Palavras-chave
Music Alan Moore Comic strips Cinema Banda desenhada Música