Cartografia musical no cinema: um estudo sobre a crítica cultural dos processos criativos em sociedades mestiças

Abstract

Governmental laws to foment culture helped the growth of audiovisual production throughout the country. But outside the Rio-São Paulo axis, alike the state of Mato Grosso, little is known about its production, even if there is a concern with the local culture related to the cinematographic scene. We start from notes made by journalistic critics about a given context, which, possibly subjugated by molds primarily, is understood in a marginalized way compared to national production; and we also include the music of this scope, which, even as part of the audiovisual context, is not always considered by critics. Therefore, our object of study is the sonorous-musical relation in the cinematographic composition. We have as corpus the sonorities used in the fiction cinema outside the Rio-São Paulo axis, present in the national film catalog of ANCINE (2006), in which the works of Mato Grosso are contemplated, the only ones supported until now by the, nationwide, Rouanet law. This way, we question ourselves, if a cartography of the sound-musical contexts for this environment would provide a critical analysis, moving beyond "cultural imprinting" (MORIN, 1992), and hypothetically, making the languages present in the cinema critical elements. Our objective is to locate indicators, among the sound elements articulated to the audiovisual languages, able to define the study on the relations between sonorous objects, cultural critics and mixed societies. We justify this study by the novelty of the corpus and approach, in the face of the fragmentation of scientific studies, in theoretical scarcity with a cognitivist clipping about the referred context. The research has a theoretical backing on cultural processes, miscegenation and cultural criticism, with authors such as Iuri Lotman, François Laplantine and Amálio Pinheiro; about musical object, with Silvio Ferraz and Flô Menezes; the relations of music in the audiovisual, with Michel Chion and Lívio Tragtenberg; and other authors, considered for specific and interrelated issues between the fields of study. Methodologically, we make a qualitative approach, facing the processes - bibliography, field research, data collect, description and analysis of the corpus - and in their articulations. The thesis, defended, is that the study of sound elements, within their relations, becomes a critical object, providing the study of cinematographic languages and cultural intertextualities in complex societies, in short, musical cartography as a way of knowing about the cultural criticism in mixed societies. Thus, the corpus, of a musical beginning, offers us a complex approach on the proposed discussions; and to be considered, also, by other researches and fields of study