A percepção sonora no cinema : ver com os ouvidos, ouvir com outros sentidos

• Ano de defesa: 2010
• Autor(a) principal: Carvalho, Andreson Silva de
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Programa de Pós-graduação em Comunicação; Comunicação
• Palavras-chave em Português: Percepção auditiva; Cinema sonoro; Som; Registro e reprodução; Cinema; Extracampo; Escuta; Recepção; Sound; Perception; Listening; Reception; CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO
• Link de acesso: https://app.uff.br/riuff/handle/1/18701

The text repositions sound in the audiovisual hierarchy emphasizing an investigation into the perception of aural signs, a most valuable tool for interpreting and understanding movies, yet not so well valued. It develops the notion that the perception of sound is the first one to be formed during pregnancy, the last to be "shut down" when sleeping and, most of all, a perception which can not be temporarily disconnected, such as vision, since there are no eyelids. Therefore, this research reinforces the idea that we are crossed and influenced to a greater extent mostly by sounds than images. The study of sounds, the sound space and listening in our day to day lives, aims at broadening the understanding of the uses of sound in narrative construction, opening the doors of the abstract. Sound is able to build and destroy senses; modify what is seen; make one sees what is not visible. A central cinematic text to support certain hypotheses developed here is Walter Lima Jr.'s A Ostra e o Vento (Brazil, 1997).