Capítulo I _ Cinema – Arte

A composição de imaginários assombrosos pelo sonoro único proposto nos filmes de animação de Fernando Cortizo

Helena Maria da Silva Santana
INET-MD, Portugal
Maria do Rosário da Silva Santana
Unidade de Investigação para o Desenvolvimento do Interior, Portugal
N.º 10 (2019)
Publicado 2019-10-14


In the analysis of the work of an author, we can see his evolution and development, not only at a technical and stylistic level, but also in the themes that define his being, his having, and his art. Through The Doll Thief, The Promise, The Cat Groomer and The Apostle of Fernando Cortizo we will analyze various work contents, in order to perceive in what way the music illustrates an imaginary, and how the use the stopmotion technique produces a discourse and a visual narrative, that will be used also by the composers Josh Rouse, Carlos Fernandez and Philip Glass in the structure of a sonorous that shows itself the author. It is our intention to perceive how the musical work is raised in order to elucidate these contents in the filmic proposals. We will look for facts and arguments that allow us to say whether the musical work, and the various elements that constitute it, are redefined in order to integrate better into the filmic contents, or if, on the other hand, they remain the same. We want to see if music emphasizing the image and builds another level of meaning, an alternative way of experiencing reality that, when not informed, appears cruel. In this set of films, filmmaker and other authors, draw a new look on human experience, allowing us a different reading of what is life, death, cruelty, sinister, ghostly. We want to understand how the different discursive plans compete there to clarify the works.

Palavras-chave Música para cinema, The Thief of Dolls, The Promise, The Care of Cats, The Apostle, Fernando Cortizo.
Creative Commons License

Este trabalho encontra-se publicado com a Licença Internacional Creative Commons Atribuição 4.0.

Direitos de Autor (c) 2019 AVANCA | CINEMA