Different modes of representing reality: Theorical approaches to the Rockumentary
Rockumentary sets up direct links with the organization of popular music in genre narratives. Artists, and their distinctive music styles, are placed within a symbolic context –of sounds and performative conventions– associated with a specific social context.In this paper we propose a characterizati...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Departamento de Cine y TV, Facultad de Artes, Universidad Nacional de Córdoba
2012
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| Acceso en línea: | https://revistas.unc.edu.ar/index.php/toma1/article/view/8569 |
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I10-R367-article-85692020-11-01T03:56:58Z Different modes of representing reality: Theorical approaches to the Rockumentary Modos de representar la realidad: Aproximaciones teóricas al Rockumental Abeillé, Constanza Alicia Música Estudios de Cine Semiótica del Cine Narratología Rockumentary Music Film Studies Film Semiotics Narratology Rockumentary sets up direct links with the organization of popular music in genre narratives. Artists, and their distinctive music styles, are placed within a symbolic context –of sounds and performative conventions– associated with a specific social context.In this paper we propose a characterization of rockumentaries according to different modes of “telling” and “showing”, based on the premise that a documentary is a metahistorical narrative and, as a literary device, it produces certain discursive forms to generate an “explanatory effect”. Our thesis proposes that filmmakers involved in a rockumentary communicate a stylistic identity through their own visual readings of the object and, in making so, reproduce cultural codes of popular music (the organization in genre labels) and the ideological values related to them (the problem of authenticity). Consequently, a genre analysis in popular music and its transposition into the documentary film form can be addressed from a narrative perspective. Taking into account some rockumentaries as examples for this theorical approach we aim to justify the adequacy of the musical narrative to the narrative of film image through the ways of telling and showing. El rockumental establece vínculos directos con la organización de la música popular contemporánea en narrativas de géneros. Los artistas y el estilo de música que los caracteriza se insertan dentro de un contexto simbólico que contempla convenciones sonoras y performativas asociadas con un momento social específico. En el presente trabajo nos proponemos caracterizar los modos de narrar del rockumental partiendo de la premisa de que el documental constituye un metarelato histórico que, en tanto artefacto audiovisual, opta por determinadas formas discursivas para generar un “efecto explicatorio”. Nuestra tesis sostiene que los directores implicados en los rockumentales aportan una identidad estilística propia en sus lecturas visuales del objeto y que, al hacerlo, reproducen además los códigos culturales de la música popular (su organización en géneros) y sus valores ideológicos (el problema de la autenticidad). En consecuencia, el análisis de los géneros de la música popular y su trasposición a la forma del documental de cine puede ser abordado desde el análisis narrativo. Partiendo de algunos ejemplos de rockumentales intentaremos justificar los diferentes modos de adecuación de la narrativa musical al relato de la imagen cinematográfica. Departamento de Cine y TV, Facultad de Artes, Universidad Nacional de Córdoba 2012-09-28 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistas.unc.edu.ar/index.php/toma1/article/view/8569 10.55442/tomauno.n1.2012.8569 Toma Uno; No. 1 (2012): La representación de la realidad; 55-66 TOMA UNO; Núm. 1 (2012): La representación de la realidad; 55-66 2250-4524 2313-9692 10.55442/tomauno.n1.2012 spa https://revistas.unc.edu.ar/index.php/toma1/article/view/8569/9434 |
| institution |
Universidad Nacional de Córdoba |
| institution_str |
I-10 |
| repository_str |
R-367 |
| container_title_str |
TOMA UNO |
| language |
Español |
| format |
Artículo revista |
| topic |
Música Estudios de Cine Semiótica del Cine Narratología Rockumentary Music Film Studies Film Semiotics Narratology |
| spellingShingle |
Música Estudios de Cine Semiótica del Cine Narratología Rockumentary Music Film Studies Film Semiotics Narratology Abeillé, Constanza Alicia Different modes of representing reality: Theorical approaches to the Rockumentary |
| topic_facet |
Música Estudios de Cine Semiótica del Cine Narratología Rockumentary Music Film Studies Film Semiotics Narratology |
| author |
Abeillé, Constanza Alicia |
| author_facet |
Abeillé, Constanza Alicia |
| author_sort |
Abeillé, Constanza Alicia |
| title |
Different modes of representing reality: Theorical approaches to the Rockumentary |
| title_short |
Different modes of representing reality: Theorical approaches to the Rockumentary |
| title_full |
Different modes of representing reality: Theorical approaches to the Rockumentary |
| title_fullStr |
Different modes of representing reality: Theorical approaches to the Rockumentary |
| title_full_unstemmed |
Different modes of representing reality: Theorical approaches to the Rockumentary |
| title_sort |
different modes of representing reality: theorical approaches to the rockumentary |
| description |
Rockumentary sets up direct links with the organization of popular music in genre narratives. Artists, and their distinctive music styles, are placed within a symbolic context –of sounds and performative conventions– associated with a specific social context.In this paper we propose a characterization of rockumentaries according to different modes of “telling” and “showing”, based on the premise that a documentary is a metahistorical narrative and, as a literary device, it produces certain discursive forms to generate an “explanatory effect”. Our thesis proposes that filmmakers involved in a rockumentary communicate a stylistic identity through their own visual readings of the object and, in making so, reproduce cultural codes of popular music (the organization in genre labels) and the ideological values related to them (the problem of authenticity). Consequently, a genre analysis in popular music and its transposition into the documentary film form can be addressed from a narrative perspective. Taking into account some rockumentaries as examples for this theorical approach we aim to justify the adequacy of the musical narrative to the narrative of film image through the ways of telling and showing. |
| publisher |
Departamento de Cine y TV, Facultad de Artes, Universidad Nacional de Córdoba |
| publishDate |
2012 |
| url |
https://revistas.unc.edu.ar/index.php/toma1/article/view/8569 |
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AT abeilleconstanzaalicia differentmodesofrepresentingrealitytheoricalapproachestotherockumentary AT abeilleconstanzaalicia modosderepresentarlarealidadaproximacionesteoricasalrockumental |
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2024-09-03T22:57:25Z |
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2024-09-03T22:57:25Z |
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1809217481750872064 |