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Advisor(s)
Abstract(s)
Nas últimas décadas, a música para cinema ganhou uma especial atenção por parte de múltiplos autores, surgindo assim cada vez mais literatura séria sobre o assunto. Uma das conclusões principais deste campo de estudos florescente é que a música para cinema não funciona da mesma forma em diferentes períodos históricos e culturas.
Neste trabalho, analiso a banda sonora do filme neoclássico A Lista de Schindler (1993), composta por John Williams e realizado por Steven Spielberg – uma banda sonora em que o violino tem um papel central. A análise deste filme seguirá as funções gerais da música para cinema apresentadas por Kathryn Kalinak e os elementos narrativos e musicais característicos do cinema neoclássico e das bandas sonoras de John Williams. Será dado um foco especial à representação das emoções visto que é a música que nos ajuda a dar significado às imagens, conectando-nos às mesmas e expressando emoções que guiam a nossa reação ao filme. Por último e talvez o mais importante, pois foi o que me levou a estudar este tema, o trabalho procura responder à questão “Porquê o violino?”.
Over the last few decades, film music has been given much attention by a number of authors, so that a growing body of serious literature on the subject has arisen. One of the main conclusions of this flourishing research field is that film music does not work in the same way across time periods and cultures. In this dissertation, I analyze John Williams’s soundtrack for the neoclassical film Schindler’s list (1993), directed by Steven Spielberg – a soundtrack in which the violin plays a central role. The analysis of this film will follow the general functions of film music as discussed by Kathryn Kalinak, as well as the narrative and musical elements characteristic of the neoclassical cinema and of John William’s soundtracks. A special focus will be given to the representation of emotions since it is music that helps us to give meaning to the images, connecting us to them and expressing emotions that guide our reaction to the film. Lastly and perhaps most importantly, since it was what led me to study this theme, the dissertation tries to answer the question “Why the violin?”.
Over the last few decades, film music has been given much attention by a number of authors, so that a growing body of serious literature on the subject has arisen. One of the main conclusions of this flourishing research field is that film music does not work in the same way across time periods and cultures. In this dissertation, I analyze John Williams’s soundtrack for the neoclassical film Schindler’s list (1993), directed by Steven Spielberg – a soundtrack in which the violin plays a central role. The analysis of this film will follow the general functions of film music as discussed by Kathryn Kalinak, as well as the narrative and musical elements characteristic of the neoclassical cinema and of John William’s soundtracks. A special focus will be given to the representation of emotions since it is music that helps us to give meaning to the images, connecting us to them and expressing emotions that guide our reaction to the film. Lastly and perhaps most importantly, since it was what led me to study this theme, the dissertation tries to answer the question “Why the violin?”.
Description
Keywords
Música para cinema A Lista de Schindler John Williams Violino Análise Film music Schindler’s List Violin Neoclassicism Analysis