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O som como personagem principal, na narrativa audiovisual
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| 2.29 MB | Adobe PDF |
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Orientador(es)
Resumo(s)
A banda sonora de um filme faz-nos acreditar que tudo é real. Ela é capaz de nos
provocar um diverso conjunto de emoções e de nos transportar através do tempo e do
espaço para os locais mais improváveis. Com o passar do tempo e de acordo com o
contexto e realidade cultural, a forma como o som é trabalhado para o cinema tem vindo
a alterar-se. Este estágio culmina na actual pesquisa que analisa o quanto algumas
dessas alterações são importantes; enquanto outras podem ser entraves e limitações à
essência dos sons. A presente investigação tem como objecto de estudo o som na
narrativa audiovisual e a percepção dessa narrativa por parte do espectador. Com o
estágio pretende-se compreender os processos e as escolhas durante o desenvolvimento
da componente sonora para o cinema, em Portugal, e analisar o porquê destas mesmas
práticas e selecções. No desenvolvimento deste relatório serão descritas as práticas
diárias no estúdio, bem como a importância de vídeos de apoio e experiências
audiovisuais. A pouca exploração das potencialidades sonoras para enaltecer a narrativa,
faz o som parecer apenas um acessório, um apêndice à imagem. Conclui-se que o
espectador manifesta não ser muito exigente com a qualidade sonora das peças. A
questão parece estender-se além das audiências, atingindo também os responsáveis pela
produção do conteúdo audiovisual. Estas últimas observações são consequência uma da
outra.
The soundtrack makes us believe that everything is real, it induces a multiplicity amount of emotions and take us throughout the timeline and space to the most unlikely places. Over time, according to the context and cultural reality, the way how sound is worked for cinema has been changing. This internship culminates in this research that analyze how much some of that differences are relevant, while others may be a barrier and a limitation for the sound substance. This investigation explores the sound in the audiovisual narrative, and the perception of that narrative by the receiver. Through this internship it is intended to understand the process and choices made in the development of the sound component, in Portugal, and to analyze why these methods and preferences. In the development of this report will be described the daily studio practices, as well as the importance of the back up videos and audiovisual experiences. The faculties of sound to enhance the narrative are still unexploited, most of the time appearing that sound is just an accessory, an appendix for the image. In conclusion, the audience seems to be undemanding with the sound quality of the objects. This issue seems to go extend beyond the spectator, reaching also those responsible for audiovisual content production. These last observations are consequences one of the other.
The soundtrack makes us believe that everything is real, it induces a multiplicity amount of emotions and take us throughout the timeline and space to the most unlikely places. Over time, according to the context and cultural reality, the way how sound is worked for cinema has been changing. This internship culminates in this research that analyze how much some of that differences are relevant, while others may be a barrier and a limitation for the sound substance. This investigation explores the sound in the audiovisual narrative, and the perception of that narrative by the receiver. Through this internship it is intended to understand the process and choices made in the development of the sound component, in Portugal, and to analyze why these methods and preferences. In the development of this report will be described the daily studio practices, as well as the importance of the back up videos and audiovisual experiences. The faculties of sound to enhance the narrative are still unexploited, most of the time appearing that sound is just an accessory, an appendix for the image. In conclusion, the audience seems to be undemanding with the sound quality of the objects. This issue seems to go extend beyond the spectator, reaching also those responsible for audiovisual content production. These last observations are consequences one of the other.
Descrição
Palavras-chave
Narrativa audiovisual Som Audiovisual Percepção Som no Cinema Narrativa Workflow