A delineação e concretização dos conteúdos imagéticos em The Death of an Owl (2012) e No Green No Blue (2012) de Marta Alvim através de um sonoro de autor

Helena Maria Da Silva Santana,Maria Do Rosário Da Silva Santana

doi:10.37390/ac.v0i0.3

Abstract

The Death of an Owl and No Green on Blue are two shorts films by Marta Alvim that directs our attention to a world read through a focus that now designs in pure, simple and strong images of a new civilizational reality, as images continues and wisely blurred that induce another reading of reality, a reading that though ours is revealed to her as Western, and a transformed world. This fact, in conjunction with the sonorous and the static and repetitive predominant music written by Filipe Lopes, design the same reality for a second level of reading, where the objects, rhythms and spaces, there are metamorphosed, by the sound that handles the conscious and the unconscious of who saw and listen the film. The sensitivity of Marta Alvim, but also the composer Filipe Lopes, proves to be central to a new reaffirmation of the film narrative and image content. Starting from an essentially makeshift base, they are able to reach the sound, that the director was looking for. Through The Death of an Owl and No Green No Blue, we can discuss how focusing techniques and blurring, as well as sequencing and handling contribute to the realization of those short films. We can still reflect on how the compositional and collaborative process can be crucial for determining the filmic, narrative and musical contents. This allows us to reflect on the process of multidisciplinary artistic collaboration in contemporary film work, including the author.

Highlights

The Death of an Owl and No Green on Blue are two shorts films by Marta Alvim that directs our attention to a world read through a focus that designs in pure, simple and strong images of a new civilizational reality, as images continues and wisely blurred that induce another reading of reality, a reading that though ours is revealed to her as Western, and a transformed world
Para além de podermos discorrer sobre como as técnicas de focagem e desfocagem, bem como sequenciação e manipulação concorrem para a realização destas curta-metragens, podemos ainda refletir sobre a maneira como o processo compositivo pode ser fulcral para a determinação dos conteúdos narrativos e musicais do filme, utilizando técnicas compositivas coincidentes com as da autora
Meditar sobre a maneira como o processo compositivo e colaborativo pode ser fulcral para a determinação dos conteúdos fílmicos, narrativos e musicais do objeto artístico resultante surge um desafio: o sonoro pode concretizar-se, o discurso imagem estabilizar na sua narrativa final, uma narrativa reerguida pelo som, uma narrativa que se extrapola no interior do som e no imaginário que dele se desvela, contribuindo para um outro conhecimento do mundo que nos cerca

Summary

Introduction

The Death of an Owl and No Green on Blue are two shorts films by Marta Alvim that directs our attention to a world read through a focus that designs in pure, simple and strong images of a new civilizational reality, as images continues and wisely blurred that induce another reading of reality, a reading that though ours is revealed to her as Western, and a transformed world. No Green No Blue de Marta Alvim inicia, à semelhança de The Death of an Owl, com uma tela escura que, no nosso entender, é uma reminiscência da presença de um ideário de morte, que, no silêncio de um sonoro se diz, e num discurso de imagens, se narra.

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Conclusion