Contraponto audiovisual? De Eisenstein a Chion

Abstract

We consider the musical term "counterpoint" as employed in texts about cinema and film theory since Sergei Eisenstein´s writings of the end of the twenties, passing by authors such as Theodor Adorno and Hanns Eisler, Siegfried Kracaeur and Jean Mitry until the sound studies in audiovisual by Michel Chion. As a fundamental questioning we consider the possibility and pertinence or not of its application to the relationship between sound and image in audiovisual products, as that application has caused much misunderstood, often provoked by generic utilization. We refer to audiovisual examples given in the above cited authors and join others, as the 1001 nights´ first volume (Miguel Gomes, 2015) and A film like others (Jean-Luc Godard, 1968) , como o do Cinema, o da Literatura e o da Filosofia: "contraponto", "polifonia" e "ritornelo" são alguns exemplos. Porém, essas palavras não possuem um significado único no campo de origem da Música, onde tiveram seus sentidos criados, recriados, reinterpretados e alterados ao longo dos séculos, assim como, ao chegar ao novo campo, impregnaram-se de outras interpretações.

A música pop em David Lynch: canções de época em longas-metragens do diretor

“…However, it is worth considering, as well as Alvim (2017), that, even though it is almost always treated in a sense of contrast, conflict, the widespread term "counterpoint" of the manifest may be inaccurate, mistaken or lack greater contextualization. Even Eisenstein and Pudovkin explained their proposals for using cinema sound in later texts, in which they considered other aspects of the complex relationships between images and sounds, such as the multiplicity of simultaneous elements and the specific and general meanings of the composition which they are part of.…”