Composição musical e pensamento cinematográfico: a estética do serialismo no cinema de Straub-Huillet

• Ano de defesa: 2017
• Autor(a) principal: Pedro Cardoso Aspahan
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; UFMG
• Palavras-chave em Português: Schoenberg; Bach; Música; Musicalidade fílmica; Serialismo; Cinema; Straub-Huillet; Straub, Jean-Marie, 1933-; Comunicação; Serialismo (Música); Schoenberg, Arnold, 1874-1951; Bach, Johann Sebastian, 1685-1750; Huillet, Danièle, 1936-2006
• Link de acesso: http://hdl.handle.net/1843/BUOS-AS9FQU

This thesis intends to show the centrality of the filmic musicality in Straub-Huillet's work, who incorporate music to their cinema as aesthetic matter and way of thinking. The thesis discusses how compositional thinking of music contaminates compositional thinking in cinema, producing a complex affinity between Straub- Huillet's work and the aesthetics of serialism (understood in a broader sense). Then, it was necessary to comprehend the path that connects Bach to Schoenberg (fundamental references for the directors), passing through the twelve-tone technique, the later developments of serialism in music and its influence on the various expressions of experimental cinema, to find out the Straub-Huillet's proper formulation, from which the thesis extracts its aesthetic and political consequences through the analysis of four films: Un conte de Michel de Montaigne (A Tale by Michel de Montaigne, 2013), Klassenverhältenisse (Class Relations, 1984), Von heute auf morgen (From Today until Tomorrow, 1996) and Toute révolution est un coup de dés (Every Revolution is a Through of the Dice, 1977).