Canções cinematográficas: análise dialógica do filme musical Les Misérables
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Data
2018-05-30
Autores
Serni, Nicole Mioni [UNESP]
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Universidade Estadual Paulista (Unesp)
Resumo
Esta pesquisa se propôs a analisar o filme musical Les Misérables (2012), de Tom Hooper, sob a ótica dos estudos do Círculo Bakhtin, Medviédev, Volochinov, tendo como objetivo refletir, por meio de uma análise dialógica, acerca da constituição da arquitetônica do filme musical como gênero discursivo, em sua forma, conteúdo, estilo, produção e circulação, conforme as ideias do Círculo. A partir de Les Misérables este trabalho buscou investigar a especificidade do gênero filme musical assim como analisar os diálogos entre o filme escolhido e outras obras musicais produzidas no cinema norte-americano. A canção, aqui também considerada como um gênero, é elemento constitutivo do filme escolhido e sua presença é de extrema importância na formação do musical, configurando-o como intergenérico. O filme musical norte-americano é marcado por elementos de canto e dança que se consolidam especialmente na era de ouro (anos 50 e 60). Les Miserables apresenta características diferentes de outros filmes musicais, como, por exemplo, a temática (a partir da obra de Victor Hugo), a fala cantada constante (e não apenas canto em momentos performáticos), e a ausência de dança (ainda que as movimentações sejam ritmadas). Estas especificidades do gênero discursivo filme musical foram discutidas ao longo desta pesquisa a partir da trajetória do filme musical, sendo possível, deste modo, analisar como a obra cinematográfica em questão dialoga com outras produções, de diferentes períodos; assim como as relações estabelecidas entre o filme e o teatro musical da Broadway.
This research aims to analyze the musical film Les Misérables (2012), by Tom Hooper, within the perspective of the Circle Bakhtin, Medviédev, Volochinov studies, having as objective to reflect, by a dialogic analysis, about the constitution of the architectonic of the musical film, as a discursive genre in its form, content, style, production and circulation, based on the ideas of the Circle. With the study of Les Misérables this work focuses on the investigation of the specificity of the musical film genre as much as analyze the dialogs between the musical film, and other musicals produced in the North American cinema. The song, here as well considered as a genre, is an element that constitutes de movie chosen and its presence is of extreme importance in the formulation of the musical, which is built with intergenres. The North American musical film is marked by elements of singing and dancing that are consolidated in the golden era (the 50’s and 60’s). Les Misérables presents characteristics which are different from other musical films, such as, for example, the thematic (based on the novel by Victor Hugo), the constant singing (and not just singing in performatic contexts), and the absence of dance (even though every move is punctuated). These specificities of the musical film as a discursive genre were discussed along this research from the trajectory of the musical film, making it possible to analyze how the cinematographic work in focus dialogs with other productions, from different periods; such as the relations stablished between the movie and Broadway musical theatre.
This research aims to analyze the musical film Les Misérables (2012), by Tom Hooper, within the perspective of the Circle Bakhtin, Medviédev, Volochinov studies, having as objective to reflect, by a dialogic analysis, about the constitution of the architectonic of the musical film, as a discursive genre in its form, content, style, production and circulation, based on the ideas of the Circle. With the study of Les Misérables this work focuses on the investigation of the specificity of the musical film genre as much as analyze the dialogs between the musical film, and other musicals produced in the North American cinema. The song, here as well considered as a genre, is an element that constitutes de movie chosen and its presence is of extreme importance in the formulation of the musical, which is built with intergenres. The North American musical film is marked by elements of singing and dancing that are consolidated in the golden era (the 50’s and 60’s). Les Misérables presents characteristics which are different from other musical films, such as, for example, the thematic (based on the novel by Victor Hugo), the constant singing (and not just singing in performatic contexts), and the absence of dance (even though every move is punctuated). These specificities of the musical film as a discursive genre were discussed along this research from the trajectory of the musical film, making it possible to analyze how the cinematographic work in focus dialogs with other productions, from different periods; such as the relations stablished between the movie and Broadway musical theatre.
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Diálogo, Gênero, Musical, Dialog, Genre