{"title":"克里斯·马克(Chris Marker)和agnes瓦尔达(agnes Varda)在Nouvelle Vague时代的散文纪录片中配音和音乐拼贴","authors":"L. Alvim","doi":"10.20287/DOC.D24.DT04","DOIUrl":null,"url":null,"abstract":"I analyze documentaries by Chris Marker and Agnes Varda from the Nouvelle Vague period in which there is a predominance of voice over and preexisting music, especially Letter from Siberia (Marker, 1958), and Elsa la Rose (Varda, 1965). In these films I investigate the relationship between those elements and relations with the images. In these films, the voice over is a sign of modernity and the preexisting music is part of a musical collage. Both sound elements relate often ironically to the images.","PeriodicalId":30245,"journal":{"name":"Doc OnLine Revista Digital de Cinema Documentario","volume":null,"pages":null},"PeriodicalIF":0.0000,"publicationDate":"2018-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"4","resultStr":"{\"title\":\"Voz over e colagens musicais em documentários ensaísticos de Chris Marker e Agnès Varda da época da Nouvelle Vague\",\"authors\":\"L. Alvim\",\"doi\":\"10.20287/DOC.D24.DT04\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"I analyze documentaries by Chris Marker and Agnes Varda from the Nouvelle Vague period in which there is a predominance of voice over and preexisting music, especially Letter from Siberia (Marker, 1958), and Elsa la Rose (Varda, 1965). In these films I investigate the relationship between those elements and relations with the images. In these films, the voice over is a sign of modernity and the preexisting music is part of a musical collage. Both sound elements relate often ironically to the images.\",\"PeriodicalId\":30245,\"journal\":{\"name\":\"Doc OnLine Revista Digital de Cinema Documentario\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2018-09-28\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"4\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Doc OnLine Revista Digital de Cinema Documentario\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.20287/DOC.D24.DT04\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Doc OnLine Revista Digital de Cinema Documentario","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.20287/DOC.D24.DT04","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Voz over e colagens musicais em documentários ensaísticos de Chris Marker e Agnès Varda da época da Nouvelle Vague
I analyze documentaries by Chris Marker and Agnes Varda from the Nouvelle Vague period in which there is a predominance of voice over and preexisting music, especially Letter from Siberia (Marker, 1958), and Elsa la Rose (Varda, 1965). In these films I investigate the relationship between those elements and relations with the images. In these films, the voice over is a sign of modernity and the preexisting music is part of a musical collage. Both sound elements relate often ironically to the images.
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