3.6.2 Gremlins

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3.6.2 Gremlins TITULO: La música en el cine de terror estadounidense de los 80: procedimientos, derivaciones y concomitancias AUTOR: Carlos Rodríguez Hervás © Edita: UCOPress. 2021 Campus de Rabanales Ctra. Nacional IV, Km. 396 A 14071 Córdoba https://www.uco.es/ucopress/index.php/es/ [email protected] Resumen La historia de la composición musical para cine, de sus técnicas, lenguajes y procedimientos, ha ido, desde sus orígenes, estrechamente asociada a los avances, las necesidades y las estéticas cinematográficas particulares de cada época. En nuestra investigación, hemos querido asociar estos avances a las cuestiones génericas, centrando nuestro foco de atención en uno de los géneros más marginales, a fin de ponerlo en valor: el terror. Como punto de partida, entenderemos que las músicas compuestas para el cine de terror en el Estados Unidos de los 80 poseen una serie de características particulares y más o menos estables. Emplearemos el análisis sistemático de la música de algunas de las principales películas para desentrañar este extremo, ofreciendo una visión global de las corrientes compositivas musicales más destacadas de esta cinematografía. A su vez, trazaremos un marco contextual que nos permitirá enlazar las principales características de estas películas con la música que se componía para ellas, así como dar validez a la idea de que de la cinematografía objeto de nuestra investigación doctoral surgiría una estética compositiva específica, debido al fenómeno de la irrupción definitiva de los instrumentos electrónicos, que aún hoy día continúa mostrando su influencia. Abstract The history of musical composition for cinema, its techniques, languages and procedures, has, form its origins, been closely associated with the advances, needs and specific cinematographic aesthetics of each era. In our research, we wanted to associate these advances with genre issues, focusing on one of the most marginal genres, in order to highlight it: horror. To begin with, we will understand that the music composed for horror movies in the 80’s United States have a series of specific and more or less stable characteristics. We will use the systematic analysis of the music of some of the main movies to unravel this point, offering a global vision of the most important musical compositional trends of this cinematography. At the same time, we will detail a frame of reference that will allow us to link the main characteristics of these movies with the music that was composed for them, as well as to validate the idea that a specific compositional aesthetic would emerge from the cinematography object of study of our doctoral research, due to the phenomenon of the definitive irruption of electronic instruments, wich even today continues to show its influence. Índice 1. INTRODUCCIÓN ................................................................ 13 1.1. Objetivos e hipótesis ......................................................................... 14 1.2. Estado de la cuestión ........................................................................ 15 1.3. Metodología ...................................................................................... 19 1.4. Fuentes ............................................................................................. 25 1.5. Objeto de estudio .............................................................................. 26 2. EL CINE DE TERROR ESTADOUNIDENSE DE LOS 80 ........... 32 3. ANÁLISIS .......................................................................... 44 3.1. Antecedentes ...................................................................................... 48 3.1.1. La noche de Halloween ................................................................. 49 3.2. Año 1980 ........................................................................................... 59 3.2.1. La niebla ...................................................................................... 59 3.2.2. Vestida para matar ....................................................................... 64 3.2.3. Viernes 13 ................................................................................... 77 3.3. Año 1981 ........................................................................................... 90 3.3.1. Aullidos ........................................................................................ 90 3.3.2. Un hombre lobo americano en Londres ...................................... 102 3.3.3. Posesión infernal ....................................................................... 107 3.3.4. La quema ................................................................................... 119 3.4. Año 1982 ......................................................................................... 131 3.4.1. La cosa (el enigma de otro mundo) ............................................ 131 3.4.2. Poltergeist: Fenómenos extraños ................................................ 138 3.5. Año 1983 ......................................................................................... 150 3.5.1. El ansia ...................................................................................... 150 3.5.2. Christine .................................................................................... 160 3.5.3. Psicosis II: El regreso de Norman ............................................... 171 3.6. Año 1984 ......................................................................................... 183 3.6.1. Pesadilla en Elm Street ............................................................... 183 3.6.2 Gremlins ..................................................................................... 193 3.7. Año 1985 ......................................................................................... 208 3.7.1. Re-Animator ............................................................................... 208 3.7.2. El día de los muertos .................................................................. 217 3.8. Año 1986 ......................................................................................... 230 3.8.1. La mosca ................................................................................... 230 3.8.2. Critters ...................................................................................... 239 3.8.3. Masacre en Texas 2 .................................................................... 249 3.9. Año 1987 ......................................................................................... 259 3.9.1. Terroríficamente muertos .......................................................... 259 3.9.2. Jóvenes ocultos .......................................................................... 268 3.9.3. Los viajeros de la noche ............................................................. 277 3.9.4. El príncipe de las tinieblas ......................................................... 288 3.10. Año 1988 ....................................................................................... 299 3.10.1. Muñeco diabólico ..................................................................... 299 3.10.2. La serpiente y el arcoíris .......................................................... 306 3.10.3. Están vivos ............................................................................... 318 3.11. Año 1989 ....................................................................................... 326 3.11.1. Cementerio viviente .................................................................. 326 3.11.2. Society ..................................................................................... 337 4. INFLUENCIAS Y REMEMBRANZAS EN LA CULTURA CONTEMPORÁNEA ................................................................ 351 5. CONCLUSIONES .............................................................. 358 6. BIBLIOGRAFÍA ................................................................ 364 6.1. Publicaciones bibliográficas ............................................................. 364 6.2. Webs citadas ..................................................................................... 370 6.3. Películas citadas ............................................................................... 371 Agradecimientos A mis directores, por ponérmelo tan fácil. Al doctor Antonio Míguez Santa Cruz, por animarme a dar el paso. Sin él, esto nunca hubiera sido posible. Al profesor Francisco García Gómez, gracias a cuya ayuda, ánimos y apoyos me inicié en el mundo del análisis de la música cinematográfica. Que la tierra te sea leve, Pancho. Aquí también hay un poquito de ti. A mi familia, por inculcarme desde siempre la pasión por el cine y la música. Y por tanto y tanto apoyo desinteresado. A mi pareja, por estar siempre a mi lado. A Nora, por regalarme su compañía. Y por último, a todos aquellos creadores de cine y música que han hecho que mi vida tenga un poco más de sentido. Hacer una banda sonora va sobre todo de sensaciones. Es como tener una alfombra para una escena. A veces son cosas muy sencillas. Puede que no sea brillante y no requiera mucho talento: una larga nota descendente, una repetición de acordes… Pero hace que prestes atención a la pantalla. Y de eso se trata: de obligarte a ver y a escuchar la película. John Carpenter 12 1. INTRODUCCIÓN Son varias las circunstancias favorables conducentes a la realización del presente trabajo. Por un lado, los estudios sobre música en el cine requieren una formación multidisciplinar evidente, que ha dificultado históricamente el acercamiento a la materia por parte de los académicos.
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