Sound Perturbations, Visual Resonances: Reflections About Sound in Three Experimental Films

This article analyzes the imaginaries and sound spaces in three recent Chilean films produced by Diluvio productions: Lucía (Atallah 2010), Rey (Atallah 2017), and La casa lobo (Cociña & León 2018). Based on these films, we will study the diverse uses of sound as a strategic device to re-sig...

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Autores:
Urrutia Neno, Carolina
Fernandez, Ana
Tipo de recurso:
Article of journal
Fecha de publicación:
2018
Institución:
Pontificia Universidad Javeriana
Repositorio:
Repositorio Universidad Javeriana
Idioma:
spa
OAI Identifier:
oai:repository.javeriana.edu.co:10554/41965
Acceso en línea:
http://revistas.javeriana.edu.co/index.php/cma/article/view/21962
http://hdl.handle.net/10554/41965
Palabra clave:
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openAccess
License
Atribución-NoComercial-SinDerivadas 4.0 Internacional
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oai_identifier_str oai:repository.javeriana.edu.co:10554/41965
network_acronym_str JAVERIANA2
network_name_str Repositorio Universidad Javeriana
repository_id_str
dc.title.deu.fl_str_mv Sound Perturbations, Visual Resonances: Reflections About Sound in Three Experimental Films
dc.title.spa.fl_str_mv Perturbaciones sonoras, resonancias visuales: reflexiones sobre el sonido en tres filmes experimentales
dc.title.por.fl_str_mv Perturbações sonoras, ressonâncias visuais: reflexões sobre o som em três Filmes experimentais
dc.title.english.eng.fl_str_mv Sound Perturbations, Visual Resonances: Reflections About Sound in Three Experimental Films
title Sound Perturbations, Visual Resonances: Reflections About Sound in Three Experimental Films
spellingShingle Sound Perturbations, Visual Resonances: Reflections About Sound in Three Experimental Films
title_short Sound Perturbations, Visual Resonances: Reflections About Sound in Three Experimental Films
title_full Sound Perturbations, Visual Resonances: Reflections About Sound in Three Experimental Films
title_fullStr Sound Perturbations, Visual Resonances: Reflections About Sound in Three Experimental Films
title_full_unstemmed Sound Perturbations, Visual Resonances: Reflections About Sound in Three Experimental Films
title_sort Sound Perturbations, Visual Resonances: Reflections About Sound in Three Experimental Films
dc.creator.fl_str_mv Urrutia Neno, Carolina
Fernandez, Ana
dc.contributor.author.none.fl_str_mv Urrutia Neno, Carolina
Fernandez, Ana
description This article analyzes the imaginaries and sound spaces in three recent Chilean films produced by Diluvio productions: Lucía (Atallah 2010), Rey (Atallah 2017), and La casa lobo (Cociña & León 2018). Based on these films, we will study the diverse uses of sound as a strategic device to re-signify both the narrative proposals as well as the audiovisual material used. The films studied share certain aspects of a fictional cinema of realistic typologies, as understood by some realist theorists, together with the subjective and expressive representation of the experimental and expanded cinema. We propose a reading of the work from the hinge between the cinematographic and the visual arts, pausing at the different practices of each work, in order to expose and contrast the different uses of sound that are tensing the ways of working the noises, the silence, the off camera, the sound of expression materials and the construction and destruction of the sound and the plastic.
publishDate 2018
dc.date.created.none.fl_str_mv 2018-12-28
dc.date.accessioned.none.fl_str_mv 2019-03-26T20:58:37Z
2020-04-16T13:54:19Z
dc.date.available.none.fl_str_mv 2019-03-26T20:58:37Z
2020-04-16T13:54:19Z
dc.type.coar.fl_str_mv http://purl.org/coar/resource_type/c_2df8fbb1
dc.type.hasversion.none.fl_str_mv http://purl.org/coar/version/c_970fb48d4fbd8a85
dc.type.local.spa.fl_str_mv Artículo de revista
dc.type.coar.none.fl_str_mv http://purl.org/coar/resource_type/c_6501
dc.type.driver.none.fl_str_mv info:eu-repo/semantics/article
dc.type.other.none.fl_str_mv Artículo revisado por pares
format http://purl.org/coar/resource_type/c_6501
dc.identifier.none.fl_str_mv http://revistas.javeriana.edu.co/index.php/cma/article/view/21962
10.11144/javeriana.mavae14-1.psrv
dc.identifier.issn.none.fl_str_mv 2215-9959
1794-6670
dc.identifier.uri.none.fl_str_mv http://hdl.handle.net/10554/41965
url http://revistas.javeriana.edu.co/index.php/cma/article/view/21962
http://hdl.handle.net/10554/41965
identifier_str_mv 10.11144/javeriana.mavae14-1.psrv
2215-9959
1794-6670
dc.language.iso.none.fl_str_mv spa
language spa
dc.relation.uri.none.fl_str_mv http://revistas.javeriana.edu.co/index.php/cma/article/view/21962/21720
http://revistas.javeriana.edu.co/index.php/cma/article/view/21962/21351
http://revistas.javeriana.edu.co/index.php/cma/article/view/21962/21721
dc.relation.citationissue.spa.fl_str_mv Cuadernos de Música, Artes Visuales y Artes Escénicas; Vol. 14 Núm. 1 (2019): Arte Sonoro; 65 - 83
dc.relation.citationissue.por.fl_str_mv Cuadernos de Música, Artes Visuales y Artes Escénicas; v. 14 n. 1 (2019): Arte Sonora; 65 - 83
dc.relation.citationissue.eng.fl_str_mv Cuadernos de Música, Artes Visuales y Artes Escénicas; Vol 14 No 1 (2019): Sound Art; 65 - 83
dc.rights.spa.fl_str_mv Derechos de autor 2018 Carolina Andrea Urrutia Neno, Ana Fernandez
dc.rights.licence.*.fl_str_mv Atribución-NoComercial-SinDerivadas 4.0 Internacional
dc.rights.uri.spa.fl_str_mv http://creativecommons.org/licenses/by/4.0
dc.rights.accessrights.none.fl_str_mv info:eu-repo/semantics/openAccess
dc.rights.coar.spa.fl_str_mv http://purl.org/coar/access_right/c_abf2
rights_invalid_str_mv Atribución-NoComercial-SinDerivadas 4.0 Internacional
Derechos de autor 2018 Carolina Andrea Urrutia Neno, Ana Fernandez
http://creativecommons.org/licenses/by/4.0
http://purl.org/coar/access_right/c_abf2
eu_rights_str_mv openAccess
dc.format.spa.fl_str_mv PDF
dc.format.mimetype.spa.fl_str_mv application/pdf
application/xml
dc.publisher.spa.fl_str_mv Pontificia Universidad Javeriana, Bogotá
institution Pontificia Universidad Javeriana
repository.name.fl_str_mv Repositorio Institucional - Pontificia Universidad Javeriana
repository.mail.fl_str_mv repositorio@javeriana.edu.co
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spelling Atribución-NoComercial-SinDerivadas 4.0 InternacionalDerechos de autor 2018 Carolina Andrea Urrutia Neno, Ana Fernandezhttp://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccesshttp://purl.org/coar/access_right/c_abf2Urrutia Neno, CarolinaFernandez, Ana2019-03-26T20:58:37Z2020-04-16T13:54:19Z2019-03-26T20:58:37Z2020-04-16T13:54:19Z2018-12-28http://revistas.javeriana.edu.co/index.php/cma/article/view/2196210.11144/javeriana.mavae14-1.psrv2215-99591794-6670http://hdl.handle.net/10554/41965This article analyzes the imaginaries and sound spaces in three recent Chilean films produced by Diluvio productions: Lucía (Atallah 2010), Rey (Atallah 2017), and La casa lobo (Cociña & León 2018). Based on these films, we will study the diverse uses of sound as a strategic device to re-signify both the narrative proposals as well as the audiovisual material used. The films studied share certain aspects of a fictional cinema of realistic typologies, as understood by some realist theorists, together with the subjective and expressive representation of the experimental and expanded cinema. We propose a reading of the work from the hinge between the cinematographic and the visual arts, pausing at the different practices of each work, in order to expose and contrast the different uses of sound that are tensing the ways of working the noises, the silence, the off camera, the sound of expression materials and the construction and destruction of the sound and the plastic.O artigo analisa os imaginários e espaços sonoros em três filmes chilenos recentes produzidos pela produtora Diluvio: Lucía (Atallah 2010), Rey (Atallah 2017) e La casa lobo (Cociña e León 2018). A partir destes filmes, estudaremos os diversos usos do som como um dispositivo estratégico para ressignificar tanto as propostas narrativas como os materiais audiovisuais utilizados. Os filmes estudados compartilham certos aspectos de um cine de ficção de tipologias realistas, na maneira em que o compreendem alguns teóricos do realismo, junto com a representação subjetiva e expressiva do cine experimental e expandido. Propomos uma leitura de obra a partir da articulação entre o cinematográfico e as artes visuais, detendo-nos nas diferentes práticas de cada obra, para expor e contrastar os diferentes usos do som que vão tensionando os modos de trabalhar os ruídos, o silêncio, o fora de campo, o som dos materiais de expressão e a construção e destruição do sonoro e do plástico.El artículo analiza los imaginarios y espacios sonoros en tres películas chilenas recientes producidas por la productora Diluvio: Lucía (Atallah 2010), Rey (Atallah 2017) y La casa lobo (Cociña y León 2018). A partir de estos filmes, estudiaremos los diversos usos del sonido como un dispositivo estratégico para resignificar tanto las propuestas narrativas como los materiales audiovisuales utilizados. Las películas estudiadas comparten ciertos aspectos de un cine de ficción de tipologías realistas, al modo en que lo comprenden algunos teóricos del realismo, junto con la representación subjetiva y expresiva del cine experimental y expandido. Proponemos una lectura de obra desde el lugar bisagra entre lo cinematográfico y las artes visuales, deteniéndonos en las diferentes prácticas de cada obra, para exponer y contrastar los diferentes usos del sonido que van tensando los modos de trabajar los ruidos, el silencio, el fuera de campo, el sonido de los materiales de expresión y la construcción y destrucción de lo sonoro y lo plástico.This article analyzes the imaginaries and sound spaces in three recent Chilean films produced by Diluvio productions: Lucía (Atallah 2010), Rey (Atallah 2017), and La casa lobo (Cociña & León 2018). Based on these films, we will study the diverse uses of sound as a strategic device to re-signify both the narrative proposals as well as the audiovisual material used. The films studied share certain aspects of a fictional cinema of realistic typologies, as understood by some realist theorists, together with the subjective and expressive representation of the experimental and expanded cinema. We propose a reading of the work from the hinge between the cinematographic and the visual arts, pausing at the different practices of each work, in order to expose and contrast the different uses of sound that are tensing the ways of working the noises, the silence, the off camera, the sound of expression materials and the construction and destruction of the sound and the plastic.PDFapplication/pdfapplication/xmlspaPontificia Universidad Javeriana, Bogotáhttp://revistas.javeriana.edu.co/index.php/cma/article/view/21962/21720http://revistas.javeriana.edu.co/index.php/cma/article/view/21962/21351http://revistas.javeriana.edu.co/index.php/cma/article/view/21962/21721Cuadernos de Música, Artes Visuales y Artes Escénicas; Vol. 14 Núm. 1 (2019): Arte Sonoro; 65 - 83Cuadernos de Música, Artes Visuales y Artes Escénicas; v. 14 n. 1 (2019): Arte Sonora; 65 - 83Cuadernos de Música, Artes Visuales y Artes Escénicas; Vol 14 No 1 (2019): Sound Art; 65 - 83Sound Perturbations, Visual Resonances: Reflections About Sound in Three Experimental FilmsPerturbaciones sonoras, resonancias visuales: reflexiones sobre el sonido en tres filmes experimentalesPerturbações sonoras, ressonâncias visuais: reflexões sobre o som em três Filmes experimentaisSound Perturbations, Visual Resonances: Reflections About Sound in Three Experimental Filmshttp://purl.org/coar/version/c_970fb48d4fbd8a85Artículo de revistahttp://purl.org/coar/resource_type/c_6501http://purl.org/coar/resource_type/c_2df8fbb1info:eu-repo/semantics/articleArtículo revisado por pares10554/41965oai:repository.javeriana.edu.co:10554/419652023-03-28 16:14:07.641Repositorio Institucional - Pontificia Universidad Javerianarepositorio@javeriana.edu.co

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