Filme-concerto: música e cinema
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2014
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Passado o tempo da investigação inerente ao conteúdo deste estudo, é importante fazer
um pequeno balanço sobre a configuração do objecto Filme-concerto, numa perspectiva
de emergência de uma prática artística em Portugal, nomeadamente, nos inícios do
século XXI até à actualidade. Para o estudo, o ponto de partida foi o som e a imagem, a
partir dos quais estabelecemos diferentes ligações. Para compreender este processo, tal
como ele ocorre hoje, foi necessário analisá-lo a partir de diversas dimensões: da
evolução e da experiência histórica; das metodologias de trabalho; dos agentes; das
práticas; das programações.
O tema surgiu na ideia de ordenar o caos na informação disponível sobre o objecto em
estudo, na tentativa de unir um conjunto de iniciativas e reflectir a sua programação,
nomeadamente, os seus programadores culturais e os músicos, os seus processos de
criação e práticas culturais.
A nova realidade começa a estruturar-se ainda durante os anos 80, século XX e,
especialmente, na década 90 surgem as primeiras designações filme-concerto na
Europa.
Desenvolvem-se diferentes contributos de estudos nas áreas da música e na área do
cinema que podem através do cruzamento das duas áreas fornecer novos caminhos,
novas criações musicais e visuais. Analisam-se também as novas abordagens com
recurso às novas tecnologias como ferramentas que permitem criar e apresentar novas
dimensões onde surgem matérias sonoras e visuais nas quais se constroem narrativas de
vanguarda, desenvolvendo ao mesmo tempo novas oralidades.
Este é um contributo para fornecer um modo como olhamos para o objecto de estudo,
alcançar um outro olhar, uma outra forma de compreender a criação artística através do
filme-concerto e alterar a relação do público português com o cinema português e o
cinema em geral.
Assim reforça-se a ideia de criação de um festival específico para promover e
questionar o filme-concerto, no sentido de novos desenvolvimentos para o formato de
apresentação. Um espaço de incentivo à criação e promoção de bandas-sonoras originais
interpretados ao vivo, um espaço de debate e aberto à ligação às universidades e escolas
de ensino artístico, propondo novas leituras sobre o objecto, associado a valores de
criatividade, inovação e aprendizagem.
This study concerns a cultural practice that, in recent years, has been growing in popularity, in Portugal - the projection of films with live music accompaniment. For the sake of simplicity we will refer such a cultural event as "film-concert". This term first appeared in Europe, in the last decade of the 20th century, although this practice started spreading in the eighties. Since the early 21th century, we have been seeing a growing number of film-concerts happening all over Portugal. Film-concerts may be seen as a new art practice, but there was not a good source of information about these events. In order to achieve a better understanding of this new trend, we decided to collect information about this artistic practice and to look at film-concerts from several perspectives. We present a systematic study of the diverse aspects involved in film-concerts such as the cultural programmers, the musicians, the creative processes and the cultural practices. This led us to researching seminal events and how this practice evolved over time, how are filmconcerts created, who are the people involved in the creation and presentation of filmconcerts and how are these events programmed and set up. Creating a musical piece to be performed while a film is being projected may involve experimenting with image-music correspondences. Consequently, this art practice leads to new creative fields where images and music are combined to produce artistic events. In recent years, digital technology has been used to develop tools that allow artists to develop multi-sensory experiments in the genre of visual music, music visualization, audiovisual art and other innovative combinations of music and images. We present an overview of these experimental and emerging artistic practices. I intend that this study contributes to a better understanding of the film-concert creative process and, furthermore, to emphasize the relevant role that this artistic practice may play in promoting a closer relationship between people and cinema. I believe that a festival dedicated to film-concerts should be created in order to broaden the discussion of film-concert issues and to promote new forms of approaching this art practice. The scope of the festival should include both learning and creative activities besides the presentation of artistic projects and the projection of films accompanied by original soundtracks played live.
This study concerns a cultural practice that, in recent years, has been growing in popularity, in Portugal - the projection of films with live music accompaniment. For the sake of simplicity we will refer such a cultural event as "film-concert". This term first appeared in Europe, in the last decade of the 20th century, although this practice started spreading in the eighties. Since the early 21th century, we have been seeing a growing number of film-concerts happening all over Portugal. Film-concerts may be seen as a new art practice, but there was not a good source of information about these events. In order to achieve a better understanding of this new trend, we decided to collect information about this artistic practice and to look at film-concerts from several perspectives. We present a systematic study of the diverse aspects involved in film-concerts such as the cultural programmers, the musicians, the creative processes and the cultural practices. This led us to researching seminal events and how this practice evolved over time, how are filmconcerts created, who are the people involved in the creation and presentation of filmconcerts and how are these events programmed and set up. Creating a musical piece to be performed while a film is being projected may involve experimenting with image-music correspondences. Consequently, this art practice leads to new creative fields where images and music are combined to produce artistic events. In recent years, digital technology has been used to develop tools that allow artists to develop multi-sensory experiments in the genre of visual music, music visualization, audiovisual art and other innovative combinations of music and images. We present an overview of these experimental and emerging artistic practices. I intend that this study contributes to a better understanding of the film-concert creative process and, furthermore, to emphasize the relevant role that this artistic practice may play in promoting a closer relationship between people and cinema. I believe that a festival dedicated to film-concerts should be created in order to broaden the discussion of film-concert issues and to promote new forms of approaching this art practice. The scope of the festival should include both learning and creative activities besides the presentation of artistic projects and the projection of films accompanied by original soundtracks played live.
Descrição
Orientação: Luís Cláudio Ribeiro
Palavras-chave
COMUNICAÇÃO, GESTÃO CULTURAL, CINEMA, MÚSICA, SOM, IMAGEM, COMMUNICATION, CULTURAL MANAGEMENT, CINEMA, MUSIC, SOUND, IMAGE, MESTRADO EM PROGRAMAÇÃO E GESTÃO CULTURAL