Navegando por Assunto "Filme cinematográfico"

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Acesso aberto (Open Access)
Do cinema à educação: trânsitos musicais na concepção de videoaulas
(Universidade Federal do Pará, 2016-06-16) SAMPAIO, Nilze de Sá; SOUZA, Erasmo Borges de; http://lattes.cnpq.br/5387951750537371; FREITAS JÚNIOR, Áureo Déo de; http://lattes.cnpq.br/9902320223569217
This research aims to study the musical conception of video lessons from the musical movie uses, using as main reference the knowledge of Michel Chion , through the works "The audiovision" (2011) and "La music en el cine" (2014). Also underlie this study, with regard to: the structure of film language, Martin (2013) e Mascelli (2010); the discursive semiotics, Barros (2005) e Souza (2015, 2008, 2006); the art and education, Duarte (2000); the distance education, Litto (2010), Santos, Fassbender e Evangelista (2015) e Moran (2002); the video lesson, Santos, Fassbender e Evangelista (2015), Moran (1995, 2009, 2015), Anderson e Dron (2011, tradução 2012), Mattar (2014), Filatro (2009), Silva (2015), Spanhol e Spanhol (2009), Vargas, Rocha e Freire (2007). This research may be justified by the change that occurred in education, strongly influenced and energized by information and communication technologies, and also the need to unite the aesthetic education in search of teaching- learning processes that consider the human particularities, including the size of the feeling within this process. For the analysis, the researcher used the generative course of meaning, as the discursive semiotics, and two instruments created by the researcher, the sound / musical map and synthetic list of musical uses. In general, the sound`s/music`s Map sought to identify its discourse and educational issues. In a specific way, musical aspects such as the question of sound dominant, the musical uses and points of use, and synchronization of music in the production of meaning. In the synthetic list of musical uses, the investigator presented musical uses second Chion, the description and their exemplification, including referral links on the internet. Also, the investigator aided in the analysis a set of video classes typology, where similarities were identified in the video classes of structures available on the internet, coming to the following classification: informative video lesson/instructional, educational video lesson classroom model and educational video lesson with post- production capabilities. Through this knowledge we sought to clarify the issue of "How music can be used in the design of video classes, from its uses in the movies”? After the analysis, the investigator noticed that the presence of music varies according to the type of video lesson and its time of use. Thus, in the video classes with greater variety of discursive resources, such as the types video lesson informative/instructive and educational video lesson with post-production resources, the investigator noticed a greater presence of music for the materialization of speech. Conversely, the video classes with less variety of these resources, there have been a minor musical presence, as the educational video lesson type classroom model. In general, when the music is designed in the design of video lesson, there ia also a greater possibility of use than when worked into video lesson already recorded. These are working processes differences, but that should be directed to the use of music for reiteration and materialization of speech. The most common musical uses were: continuity e movie streaming; symbolic representation; continuity and discontinuity of sound plans; synchronization; temporality of the image; coestruturação and coirrigação; and moving images. Given the above, the investigator concluded that music is an educational resource. Also, a discursive feature video lesson that can be used for its coestruturação and fundamental audiovisual issues, providing an aesthetic education.
Acesso aberto (Open Access)
A música nos filmes "Um dia qualquer" e "Brutos inocentes" de Líbero Luxardo
(Universidade Federal do Pará, 2016-07-08) ALONSO, Wagner de Lima; SILVA, Joel Cardoso da; http://lattes.cnpq.br/6918547599708778
In this research we explored, from the fictional movies Um dia qualquer e Brutos inocentes de Líbero Luxardo, both members of the Amazon Cycle of filmmakers' production, the relationship between instrumental music and scene, in a sum, based on what can be said about something that is not only image neither isolated music, but a peculiar amalgam of film language or audiovisual expressions. Based on epidemiological strategies in arts in the Amazon, we expect, with the results produced, to understand the process of film creation of Líbero Luxardo in using music in the Amazon Cycle films; to contribute to the theoretical and reflective researches about films from the local production; and to collaborate with spreading the importance of music in the formation of film language. Thus, we consider a film as a singular work, endowed with autonomy, able to establish a text in which reading is engendered by the characteristics of its narrative and its visual and audio data. For this study, we did not apply any preconceived methodological proposal, we only suggested a template to analyze the filmic sequences of Luxardo included in the survey. There is an object approach in Philosophy, called Phenomenology, we deemed more appropriate to our study for it values the way of saying what things are, understands that the exterior and interior of things coincide. That means, one thing is as it is, so that if we wish to say what something is, we should perceive it, contact it as a phenomenon, as something that takes place in our perceptual field, and then, without prior notions, describe it. This approach will guide all the descriptive steps. Thus, our way to analyze the films was based on the following cycle: identification of the film sequences in which there is incidental instrumental music; description of the selected sequences of images; description of the music from the same sequences; identification of the relationship between music and image; and finally, comments on the relationship between image and music in each scene, relating them, when possible, with the literature on the subject. We also consider that Luxardo’s films should be taken as works inscribed in the history of forms and cinematic styles; therefore, on the last stage proposed, we have established a dialogue on the identified relationship between music and image in his films with some existing theories on the subject and we have used as theoretical assumptions mainly Carrasco (2003), Chion (2011, 2015), Matos (2014), Radigales (2008), Tragtenberg (2008), e Xalabarder (2013), signatories to the idea that music and scene in their relations extend the possibilities of meanings and definitions to the perception of the viewer. The theories that supported this research were obtained through printed literature and digital media. Through this model, we seek a balance between the interpretative content of comments and the information provided that can make them verifiable, stimulating debate and the continued construction of knowledge.