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O Sound Design De Veludo Azul E a Polifonia De Efeitos Sonoros

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UNIVERSIDADE ANHEMBI MORUMBI FABIANO PEREIRA DE SOUZA ALAN SPLET – O SOUND DESIGN DE VELUDO AZUL E A POLIFONIA DE EFEITOS SONOROS São Paulo 2016 FABIANO PEREIRA DE SOUZA ALAN SPLET – O SOUND DESIGN DE VELUDO AZUL E A POLIFONIA DE EFEITOS SONOROS Dissertação de Mestrado apresentada à Banca Examinadora, como exigência parcial para a obtenção do título de Mestre em Comunicação, da Universidade Anhembi Morumbi, sob a orientação do Prof. Rogério Ferraraz. São Paulo 2016 FABIANO PEREIRA DE SOUZA ALAN SPLET – O SOUND DESIGN DE VELUDO AZUL E A POLIFONIA DE EFEITOS SONOROS Dissertação de Mestrado apresentado à Banca Examinadora, como exigência parcial para a obtenção do título de Mestre em Comunicação, da Universidade Anhembi Morumbi, sob a orientação do Prof. Rogério Ferraraz. Aprovado em ________ Prof. Dr. Rogério Ferraraz / Doutor / UAM - Presidente ______________ Prof. Dr. Eduardo Simões dos Santos Mendes / Doutor / USP ______________ Prof. Dr. Maurício Monteiro / Doutor / UAM 1 RESUMO A obra do sound designer Alan Splet (1939-1994) e a importância da edição de efeitos sonoros estudadas através da análise do filme Veludo azul (Blue velvet, EUA, 1986), dirigido por David Lynch. O intuito do projeto é pesquisar o que caracterizava o trabalho com efeitos sonoros de Splet, se ele representou inovação em termos de linguagem cinematográfica e, em caso afirmativo, como isso se deu em comparação a obras anteriores que também tenham apresentado sobreposição de efeitos sonoros. Outro objetivo é verificar ainda a aplicabilidade dos conceitos de polifonia e contraponto em relação às construções sonoras do filme. Palavras-chave: Cinema. Sound design. Polifonia. Contraponto sonoro. Alan Splet. David Lynch. 2 ABSTRACT The work of sound designer Alan Splet (1939-1994) and the importance of the sound effect editing studied through the analysis of the film Blue velvet (USA, 1986), directed by David Lynch. The project aim is to research what characterized Splet’s work with sound effects, if it represented innovation in film language and, if so, how it compared to previous films that had also presented sound effect superposition. Another goal is to verify the applicability of the concepts of polyphony and counterpoint to the sound construction of the film. Key words: Cinema. Sound design. Polyphony. Sound counterpoint. Alan Splet. David Lynch. 3 DEDICATÓRIA A Ann Kroeber, por toda sua dedicação para com esta pesquisa e toda sua incalculável dedicação aos efeitos sonoros de cinema e à preservação da memória do legado de Alan Splet. (To Ann Kroeber, for all her support to this research and all her invaluable dedication to film sound effects and the memory preservation of Alan Splet’s legacy). 4 AGRADECIMENTOS Por ordem cronológica: - À minha família pequena, mas presente: minhas irmãs, que me apoiaram e incentivaram desde o início nesta empreitada do mestrado, meu pai e minha mãe, pela base com que esta pesquisa foi possivel; - À Lívia de Silva Souza, doutoranda do PPGCOM-ECA-USP, por todas as ideias trocadas, esclarecimentos, dicas, incentivo e amizade; - À Profª. Dra. Laura Loguercio Cánepa, pelo interesse, o incentivo e o apoio junto à UAM para a viabilização do curso por meio da bolsa de estudos oferecida; - Ao Prof. Dr. Rogério Ferraraz por todas as orientações, todo o incentivo, todo o rico material de referência disponibilizado e tanto aprendizado proporcionado; - À Eliana Manso Alves, à Tatiana Catanzaro, Nelson Lago, ao Prof. Dr. Sergio Basbaum e ao colega Afonso Felipe Galdino Leite Romagna pela atenção, a boa vontade e o acesso a referências de teoria musical; - A todos os professores do PPGCOM-UAM com quem tive o prazer de aprender sobre audiovisual e a oportunidade de evoluir esta pesquisa, assim como Profª. Dra. Laura Loguercio Cánepa e Prof. Dr. Maurício Monteiro pelos apontamentos e indicações de leitura na banca de qualificação; - Aos sound designers Prof. Dr. Eduardo Simões dos Santos Mendes (ECA- USP) e Prof. Dr. Luiz Adelmo Manzano pelas preciosas entrevistas concedidas; 5 - A Ann Kroeber, Rob Fruchtman, John Nutt, Frank Behnke e Richard Hymns pelas memórias e pelo conhecimento, compartilhados acerca de Alan Splet e a produção de Veludo azul; - Ao Prof. Dr. Eduardo Simões dos Santos Mendes, a Suzana de Sousa Vilhena, Marcio Penna e Pedro Drudi pelo valioso auxílio na localização das obras da filmografia de Alan Splet; - À Alicia Margarita Sosa Mérola pelo providencial auxílio na captação do material audivisual. - À Tatiana Boulhosa pelos esclarecimentos de última hora sobre normas da ABNT. 6 SUMÁRIO INTRODUÇÃO........................................................................................... p. 10 Alan Splet e Veludo azul..................................................................p. 10 A evolução do som de cinema.........................................................p. 14 Assincronia, contraponto sonoro e polifonia....................................p. 18 Som multicanal e o sound design....................................................p. 20 1. REFERÊNCIAS HISTÓRICAS E TEÓRICAS........................................p. 25 1.1 Conceitos musicais....................................................................p. 25 1.1.1 Escuta..........................................................................p. 25 1.1.2 Paisagem sonora.........................................................p. 27 1.1.3 Música X ruídos............................................................p. 28 1.1.4 Timbre..........................................................................p. 32 1.2 Som cinematográfico.................................................................p. 33 1.2.1 História, técnica e aspectos comerciais.......................p. 33 1.2.2 Convergência de mídias...............................................p. 39 1.3 Cinema sonoro clássico.............................................................p. 42 1.3.1 Estética e motivações..................................................p. 42 1.3.2 Impacto cultural............................................................p. 47 1.3.3 Som direto e som multicanal/estereofônico.................p. 52 1.4 “Ruídos” X “efeitos sonoros”......................................................p. 53 1.5 Assincronia, contraponto sonoro e polifonia..............................p. 57 1.5.1 O pensamento polifônico.............................................p. 57 1.5.2 Polifonia musical..........................................................p. 59 1.5.3 Polifonia no cinema: teoria...........................................p. 63 1.5.4 Polifonia no cinema russo: prática...............................p. 66 1.5.5 Observações preliminares............................................p. 69 1.6 Nouvelle Vague e teoria do autor..............................................p. 74 1.7 Sound design............................................................................p. 78 1.8 Conclusões sobre o capítulo.....................................................p. 80 7 2.0 ALAN SPLET NA FILMOGRAFIA DE DAVID LYNCH........................p. 82 2.1 Referências biográficas e teóricas........................................................p. 82 2.1.1 Biografia de Alan Splet..............................................................p. 82 2.1.2 A palavra dos colegas...............................................................p. 87 2.1.3 David Lynch como autor............................................................p. 97 2.1.4 Questão do gênero..................................................................p. 103 2.2 The grandmother (1970).....................................................................p. 109 2.2.1 Referências teóricas................................................................p. 110 2.2.2 Descrição dos efeitos sonoros................................................p. 112 2.3 Eraserhead (1977) .............................................................................p. 116 2.3.1 Referências teóricas................................................................p. 117 2.3.2 Descrição dos efeitos sonoros................................................p. 119 2.4 O homem elefante (1980) ..................................................................p. 123 2.4.1 Referências teóricas................................................................p. 124 2.4.2 Descrição dos efeitos sonoros................................................p. 125 2.5 Duna (1984) .......................................................................................p. 127 2.5.1 Referências teóricas................................................................p. 127 2.5.2 Descrição dos efeitos sonoros................................................p. 130 2.6 Ecos da parceria.................................................................................p. 131 2.7 Conclusões sobre o capítulo...............................................................p. 135 3.0 VELUDO AZUL..................................................................................p. 138 3.1 Referências críticas............................................................................p. 138 3.2 Referências teóricas...........................................................................p. 145 3.3 Análise do sound design de Veludo azul............................................p. 158 3.3.1 Descrição dos efeitos sonoros.........................................................p. 158 3.3.2 Sobreposição de efeitos sonoros de Veludo azul comparada à de King Kong..........................................................................................................p.
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