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Pollock (2000) - pintura, música e movimento

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Uploaded on Mar 19, 2010

Trecho do filme "Pollock" (2000), dirigido e protagonizado por Ed Harris, com música do compositor Jeff Beal. A atuação representa o pintor expressionista norte-americano Paul Jackson Pollock (1912-1956) compondo um mural.
O professor de composição musical Jorge Meletti mostrou em aula (Universidade Federal de Pelotas) como a textura, orquestração e gestos musicais estão aqui em estreita relação com as ações físicas do artista, ilustrando a técnica do mickeymousing, em que a música "fala" o que os gestos dizem (às vezes nos mínimos detalhes, às vezes somente no sentido geral da cena).
Neste trecho, o compositor cria conexões entre os timbres dos instrumentos e as cores de tinta. Ex: As cordas agudas e as primeiras pinceladas (0:14), o oboé e a cor cinza (0:50); as melodias paralelas em 0:57 ilustrando as linhas descendentes em preto e cinza; os sons de percussão associados ao amarelo em 1:12; os ataques instrumentais e a tinta vermelha sendo atirada sobre a tela em 1:37. Em 1:55, a pintura revela melhor sua exuberância de linhas, formas e cores, e a música assume uma nova postura, com várias melodias simultâneas em diversos timbres instrumentais. Um sofisticado exemplo de mickeymousing.
Há indicações para baixar o filme neste blog: http://artecomentada.blogspot.com.br/...

Scene from "Pollock" (Ed Harris, 2000) - Soundtrack by Jeff Beals.
Texture, orchestration and musical gestures from soundtrack are in close relation with image and the actor's movements.
Notice how the composer creates bonds between instrumental colors and paint colors and how music mimics image. E.g. The fast string bowing and the first strokes of the artist on the canvas at 0:14; the oboe and the appearance of a new color (gray) at 0:50; the way the descending parallel melodies at 0:57 match the descending wavy lines in black and gray; the new pitched percussion sounds and the yellow at 1:12; the musical attacks and the splashes of red paint at 1:37.
At 1:55, the painting reveals more clearly its exuberance of lines, shapes and colors, and the music assume a new mood, softer and full of dialoging melodies in several instrumental colors. In the moment in which the painting is almost finished, and the artist is performing his final touches, at 2:10, the music changes it texture and character, more tamed and less improvisatory. Indeed a nice and sophisticated example of Mickeymousing. (Composing technique in which the music mimics the scene, sometimes in detail, in a synchronous fashion with physical actions, sometimes in a broader way, mimicking the scene's general mood.)
Watch and listen carefully, searching for other connections between music and image. There's a lot more.
*From a class of professor Jorge Meletti, a Brazilian composer.

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