Since the 1970s, the soundtrack in Hollywood has come of age as a complex and sophisticated site of cinematic art. Greater combinations of sounds expressing a wider spectrum of tones, textures and volumes can be heard at the movies more than ever before, while behind the scenes, the number of personnel producing them has grown considerably. Moreover, this era has witnessed a proliferation of different artistic and professional approaches to sound. This thesis provides a detailed and wide-ranging picture of these developments and how they were ultimately affected by changes within the American film industry. Drawing on a range of accounts by contemporary sound practitioners and critics, the thesis explores sound production practices, focusing on the sound designer and composer, their creative choices, collaborative relationships - or “sound relations” - and the technologies they employ. The soundtrack is also examined in terms of “sonic style”: the ways in which sound effects, music and the voice function variously in the service of contemporary film narration and genre. It is argued that Hollywood sound production practices and styles have diversified to a high degree, particularly during the last three decades. Industrial realignments on the “New Hollywood” landscape in the 1970s and the integration of the independent and major sectors throughout the 1990s have introduced greater flexibility to mainstream filmmaking norms. These events have played key roles in the expansion of its different sonic styles and working practices in contemporary Hollywood. I take George Lucas and David Lynch, their respective sound design partners Ben Burtt and Alan Splet and composers John Williams and Angelo Badalamenti, and identify distinctions between their professional modus operandi and sonic styles to illustrate the growing diversification within the industry. Most importantly, these examples are used to demonstrate both the intricacy and variety that characterises the styles and crafts of the contemporary Hollywood soundtrack.

Esta dissertação propõe investigar o uso da Dublagem e do Diálogo Pós-Sincronizado no mercado brasileiro, além de traçar comparações de seu uso em outros países. O estudo se apoia em três aspectos: definição e ideologias de utilização, técnicas empregadas e panorama histórico de aplicação em produtos audiovisuais. / This thesis proposes to analyses the application of Dubbing and ADR techniques in Brazilian Cinema and Television Market, as well as stablishing comparisons in between applications of the same technique in other countries. The research has three points of view: word definition and ideologies of its application, technical aspects of the practice in Brazil and a historical panorama of Dubbing and ADR uses in Motion Pictures.

Submitted by Marlene Santos (marlene.bc.ufg@gmail.com) on 2018-03-08T19:38:06Z No. of bitstreams: 2 Dissertação - Thaís Rodrigues Oliveira - 2014.pdf: 73299 bytes, checksum: 7172b79c05df4311cfc677cefbe4ecc4 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Rejected by Luciana Ferreira (lucgeral@gmail.com), reason: Marlene, o arquivo da dissertação só possui as folhas iniciais. Procurei no dropbox e está do mesmo jeito e não achei o nome dela na planilha de entrada. on 2018-03-12T11:23:39Z (GMT) / Submitted by Marlene Santos (marlene.bc.ufg@gmail.com) on 2018-03-28T19:53:01Z No. of bitstreams: 2 Dissertação - Thaís Rodrigues Oliveira - 2014.pdf: 73299 bytes, checksum: 7172b79c05df4311cfc677cefbe4ecc4 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-03-29T11:37:28Z (GMT) No. of bitstreams: 2 Dissertação - Thaís Rodrigues Oliveira - 2014.pdf: 73299 bytes, checksum: 7172b79c05df4311cfc677cefbe4ecc4 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-03-29T11:37:28Z (GMT). No. of bitstreams: 2 Dissertação - Thaís Rodrigues Oliveira - 2014.pdf: 73299 bytes, checksum: 7172b79c05df4311cfc677cefbe4ecc4 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2014-02-28 / An increasing recurrence of the image study has arose from researches attentive to the problematical that involves themes like culture and society. We are “imgetic” beings and the contemporary society of consumption has powered the sense of vision in our daily life. However, there are few researches that use the sound and its relation to what is called “visual culture”. From the perspective of the cultural studies and of the visual culture, the aim of this paper is to identify a possible “audible” culture and how identitary souding meanings can be stimulated in the spectator / listener of the audiovisual material. Based on the souding vocabulary of an investigation concerning to the sound produced internment by the human body, this research seeks the conception of a practical work with the use of these images and sounds not common to our daily life. / Uma crescente recorrência ao estudo das imagem tem emergido de pesquisas atentas às problemáticas que envolvem temas como cultura e sociedade. Somos seres ‘imagéticos’ e a sociedade de consumo contemporânea há muito tempo tem potencializado o sentido da visão em nosso cotidiano. Contudo, ainda são poucos os trabalhos que utilizam o som e sua relação com a chamada “cultura visual”. A partir de uma perspectiva dos estudos culturais e da cultura visual, pretendo identificar uma possível cultura “audível” e como significações sonoras identitárias podem ser estimuladas no espectador/ouvinte do material audiovisual. Baseada no vocabulário sonoro de uma investigação acerca dos ruídos produzidos internamente pelo corpo humano, essa pesquisa visa a concepção de um trabalho prático com usos dessas imagens e sons incomuns ao nosso cotidiano.

Made available in DSpace on 2016-06-02T20:23:16Z (GMT). No. of bitstreams: 1 6323.pdf: 10772992 bytes, checksum: 813a1652f063e5d074e1dbf75a29212c (MD5) Previous issue date: 2014-04-29 / Universidade Federal de Minas Gerais / This work aims to discuss the cinema of Carlos Reygadas, with the focuses on the importance of sound and its dynamics within the long duration take, a procedure that strongly characterizes the style of this director. Initially, excerpts from films Japón (2002), Battle in Heaven (2005) and Silent Light (2007) were analyzed to highlight the formation of a stylistic corpus and a predominantly contemplative and sensory conception of cinema. Then we elected Silent Light as a conductive thread of a broader analysis in relation to the main crop. Therefore, we had as main references studies by David Bordwell (2008) on traditional directors of the plan-sequence, as well as the categories and theoretical assumptions of Michel Chion (1994, 2009) on the uses of sound in cinema. / Esta dissertação tem por objetivo discutir o cinema de Carlos Reygadas, sob um recorte que se concentra especificamente na importância do som e de sua dinâmica no interior dos planos de longa duração, procedimento que caracteriza fortemente o estilo deste diretor. Inicialmente, trecho dos filmes Japón (2002), Batalha no Céu (2005) e Luz Silenciosa (2007) foram analisados para salientar a conformação de um corpus estilístico e de uma concepção de cinema de caráter predominantemente contemplativo e sensorial. Em seguida, elegemos Luz Silenciosa como o fio condutor de uma análise mais abrangente em relação ao principal recorte. Para tanto, tivemos como principais referências os estudos de David Bordwell (2008) sobre tradicionais diretores do plano-sequência, bem como as categorias e pressupostos teóricos de Michel Chion (1994; 2009) sobre usos do som no cinema.

Esta dissertação propõe investigar o uso da Dublagem e do Diálogo Pós-Sincronizado no mercado brasileiro, além de traçar comparações de seu uso em outros países. O estudo se apoia em três aspectos: definição e ideologias de utilização, técnicas empregadas e panorama histórico de aplicação em produtos audiovisuais. / This thesis proposes to analyses the application of Dubbing and ADR techniques in Brazilian Cinema and Television Market, as well as stablishing comparisons in between applications of the same technique in other countries. The research has three points of view: word definition and ideologies of its application, technical aspects of the practice in Brazil and a historical panorama of Dubbing and ADR uses in Motion Pictures.