Made available in DSpace on 2016-04-26T18:13:47Z (GMT). No. of bitstreams: 1 Patricia Dourado.pdf: 6349707 bytes, checksum: ffb8fa732d9cc7ef689dfe1f56ec8848 (MD5) Previous issue date: 2013-11-09 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Sofia Coppola had a personal project: to present the public with the point of view of Queen Marie Antoinette. To achieve it, she decided to pursue an intimate journey of the historical character. Dialogue with her collaborators, among them the production designer KK Barrett and costume designer Milena Canorero, was crucial on this path. This research aims to investigate the construction of that intimate journey in Sofia Coppola's Marie Antoinette, focusing on the work of production design resulting from the relationship between authorship and collaboration. Here, "authorship" is understood as the existence of a personal poetic project for the film and "collaboration" as teamwork as it occurs in the film work. Ingeniously divided into teams - such as art, photography, music, drama and others - the creative process in the film work is the outcome of the communication between these teams. The production design is responsible for the visual concept of the film, working with the construction of visual elements such as scenery, costumes, makeup, objects, etc. The production design was of great importance for the development of Sofia Coppola's poetic project (the creation of an intimate journey), since the documents of the process reveale a filmmaker interested in telling the story far more for its visuals than for the speech of the characters. From this case study, considering the importance of the art team for the film, it was established that even if it were possible to speak of authorship in the collaborative process in film work existing here as the presence of a personal poetic project focused on the figure of the director and screenwriter Sofia Coppola - that authorship is also fueled by the complexity of teamwork relationships. For this understanding, the methodological thinking of the critical process proposed by researcher Cecilia Almeida Salles was crucial. Composing the body of our research are the following documents of the process: the movie Marie Antoinette, the making of the movie that accompanies the DVD, the production notes available on the movie's official website, the press kit of the Cannes festival, the book by biographer Antonia Fraser which inspired the movie, the published screenplay, and interviews on websites, newspapers and magazines. The same materials from the film-maker and her team's other movies were utilized in this research. These documents contributed to the assertion of our relative perspective on the creative process / Sofia Coppola tinha um projeto pessoal, apresentar ao público o ponto de vista da rainha Maria Antonieta. Para isso, decidiu buscar a jornada intimista da personagem histórica. O diálogo com seus colaboradores foi fundamental neste caminho. Entre eles, o diretor de arte KK Barret e a figurinista Milena Canonero. Esta pesquisa tem por objetivo investigar a construção da jornada intimista em Maria Antonieta de Sofia Coppola, com foco no trabalho da direção de arte, a partir das relações entre autoria e colaboração. Entende-se aqui autoria como a existência de um projeto poético pessoal para o filme. E colaboração como o trabalho de equipe conforme ocorre no cinema. Engenhosamente dividido em equipes (arte, fotografia, música, dramaturgia etc.), o processo criativo no cinema se dá exatamente da comunicação entre essas equipes. A direção de arte é a responsável pelo conceito visual do filme, operando no campo da construção dos elementos visuais: cenário, figurino, maquiagem, objetos etc; trabalho fundamental para o desenvolvimento do projeto poético de Sofia Coppola (a criação de um jornada intimista), uma vez que os documentos de processo revelam uma cineasta interessada em contar a história bem mais por seus elementos visuais do que pela fala dos personagens. A partir deste estudo de caso, em vista da importância da equipe de arte para o filme, foi possível constatar que, mesmo que seja possível falar em autoria dentro do processo colaborativo do cinema - aqui percebido pela presença de um projeto poético pessoal centrado na figura da diretora e roteirista Sofia Coppola - essa autoria é também alimentada pela complexidade das relações do trabalho de equipe no cinema. Para esse entendimento, foi fundamental o pensamento metodológico da crítica de processo proposta pela pesquisadora Cecília Almeida Salles. Compuseram nosso corpus de investigação os seguintes documentos de processo: o filme Maria Antonieta, o vídeo making of que acompanha o DVD, as production notes disponibilizadas no site oficial, o press kit do festival de Cannes, o livro da biografa Antonia Fraser que inspirou o filme, o roteiro publicado, além de entrevistas em sites, jornais e revistas. Contribuiram também materiais de mesma natureza a repeito dos outros filmes da cineasta e de sua equipe, afirmando nossa perspectiva relacional diante do processo criativo

This research project addresses the problem of scoring non-narrative film work. Deprived of a narrative content to follow, the composer faces the fundamental problem of deciding what other elements should be considered for establishing a meaningful relationship between the screened events and the music soundtrack. In order to mitigate the problem, this research project investigates the possibility of applying cross-modal principles to soundtrack composition, and systematically exploits the human ability to experience or interpret the information channeled through one sense modality in terms of another. After the Introduction which explains the research aims and methods, the thesis is structured into subsequent chapters. Chapter two considers cross-modal relationships in music and other expressive arts along with a brief consideration of Reception Theory and its relation to my work. Chapter three provides a set of four case studies of contemporary compositional approaches to non-narrative film. Chapter four demonstrates a new and systematic approach to soundtrack composition through a specially devised Table of Audio-Visual Correspondences, mapping parameters from one domain to another. This method is then applied in Chapter five in relation to a portfolio of original composed soundtracks. A detailed analysis is provided of each piece and the application of crossmodal logic to the scoring of non-narrative video is discussed and evaluated. Finally, Chapter six offers conclusions, recommendations, and outlines the scope for further research. An explanation is given of how work on this thesis has affected my own practice and compositional voice. A suggestion is also provided on how this thesis can benefit the wider film music academic and practitioner community.