Puntos de Fuga
Intenciones e intersecciones de la música clásica en Hannibal de Bryan Fuller (NBC)
Publicado 01.01.2016
Palabras clave
- Música,
- ambientación musical,
- scoring,
- serie televisiva,
- música clásica
- Hannibal. ...Más
Resumen
La música desarrolla un rol clave en nuestra experiencia audiovisual. Aunque en un relato audiovisual la imagen es el foco consciente de la atención, es la banda sonora quien aporta una serie de efectos, sensaciones, significaciones que enriquecen la narración y que habitualmente se asocian a lo visual. El papel activo de la música en la interpretación de la imagen resulta especialmente destacable en Hannibal (Fuller, NBC). La particularidad de su scoring, que conjuga composiciones originales con el repertorio clásico característico de Hannibal Lecter contribuye a la creación de la atmósfera de la serie y la dota de nuevos significados derivados de un inteligente uso de la intertextualidad. En este sentido el presente artículo presenta un análisis de la música clásica en Hannibal, sus relaciones y significaciones.
Citas
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Rodríguez Bravo, Àngel (1998). <em>La dimensión sonora del lenguaje audiovisual</em>. Barcelona: Paidós.<br />
Ross, Alex (2008). <em>The Rest is Noise: Listening to the Twentieth Century</em>. New York: Picador. <br />
Schafer, Murray (1994). <em>The Soundscape: Our Sonic Environment and the Tuning of the World</em>. Vermont: Destinity Books.<br />
Torelló, Josep y Duran, Jaume (2014). Michel Chion en La audiovisión y una propuesta práctica sobre un fragmento de <em>Nostalgia</em> de Andrei Tarkovski. <em>L’Atalante,</em> 18, 111-117.<br />
Torrey, K. T. (2015). <em>Love for the Fannish Archive: Fuller’s Hannibal as Fanfiction | Antenna. </em>Recuperado de <http://blog.commarts.wisc.edu/2015/08/25/love-for-the-fannish-archive-fullers-hannibal-as-fanfiction/> [10/11/2015]<br />
Ullyatt, Tony (2012). To Amuse the Mouth: Anthropophagy in Thomas Harris’s Tetralogy of Hannibal Lecter Novels. <em>Journal of Literary Studies</em>,<em> 28</em>(1), 4-20. DOI: 10.1080/02564718.2012.644464<br />
Vaage, Margrethe Bruun. (2015). <em>The Antihero in American Television</em>. New York: Routledge.<br />
Winters, Ben (2010). The non-diegetic fallacy: film, music, and narrative space. <em>Music & Letters</em>,<em> 91</em>(2), 224–244. DOI<strong>: </strong>10.1093/ml/gcq019</p>
Aumont, Jaques, Marie, Michel (1990). <em>Análisis del film</em>. Barcelona: Paidós Comunicación.<br />
Bozman, Ron; Saxon, Edward y Utt, Kenneth (Productores) y Demme, Jonathan (Director) (1991). <em>The Silence of the Lambs</em> [Película]. EE UU: Strong Heart.<br />
Brown, Royal S. (1994). <em>Overtones and Undertones: Reading Film Music</em>. Berkeley: University of California Press.<br />
Casey, Jeff. (2015). Queer Cannibals and Deviant Detectives: Subversion and Homosocial Desire in NBC’s Hannibal. <em>Quarterly Review of Film and Video</em>, <em>32</em>(6), 550-567. DOI: 10.1080/10509208.2015.1035617<br />
Cenciarelli, Carlo (2012). Dr Lecter’s Taste for‘Goldberg, or: The Horror of Bach in the Hannibal Franchise. <em>Journal of the Royal Musical Association</em>, <em>137</em> (1), 107-134. DOI: 10.1080/02690403.2012.669929<br />
Chion, Michel (1997). <em>La música en el cine.</em> Barcelona: Paidós.<br />
— (1993). <em>La audiovisión. </em>Barcelona: Paidós.<br />
Constantini, Gustavo (2001) <em>Leitmotif revisited</em>. Recuperado de <http://filmsound.org/gustavo/leitmotif-revisted.htm> [16/11/2015].<br />
De Lauretis, Dino (Productor) y Mann, Michael (Director) (1986). <em>Manhunter </em>[Película]. EE UU: De Lauretis Entertainment Group. <br />
De Lauretis, Dino (Productor) y Ratner, Brett (Director) (2002). <em>Red Dragon</em> [Película]. EE UU: Metro Goldwyn Mayer. <br />
De Lauretis, Dino y De Lauretis, Marta (Productores) y Scott, Ridley (Director) (2001). <em>Hannibal</em> [Película]. EE UU: Metro Goldwyn Mayer.<br />
Dyer, Richard (2002). <em>The Matter of Images: Essays on Representations.</em> London: Roudledge.<br />
Fahy, Thomas. (2003). Killer Culture: Classical Music and the Art of Killing in Silence of the Lambs and Se7en. <em>The Journal of Popular Culture</em>, <em>37</em>(1), 28-42. DOI<strong>: </strong>1111/1540-5931.00052<br />
Fuller, Bryan (Creador). <em>Hannibal</em> (2013-2015). USA: NBC. 1ª temporada (2013) y 2ª temporada (2014). <br />
Gorbman, Claudia (1976). Teaching the soundtrack. <em>Quarterly Review of Film Studies</em>, <em>1</em>(4), 446-452. DOI<strong>: </strong>10.1080/10509207609360969<br />
— (1980). Narrative Film Music. <em>Yale French Studies</em>, 60, 183-203. DOI<strong>: </strong>10.2307/2930011<br />
Gorbman, Claudia (1987). <em>Unheard Melodies: Narrative Film Music</em>. Indianapolis: Indiana University Press.<br />
Harris, Thomas (2011). <em>El dragón rojo.</em> Barcelona: Debolsillo. <br />
Film Music Magazine (2014). <em>Interview with Brian Reitzell</em>. 2013. Recuperado de <http://www.filmmusicmag.com/?p=11188> [10/02/2015].<br />
Jullier, Laurent (2007). <em>El sonido en el cine. </em>Barcelona: Paidós. <br />
Kwaczyk-Laskarzewska, Anna (2015). <em>Translation Theory vs Film Adaptation Studies.Taxonomies of Recycling and Bryan Fuller’s Hannibal</em>. Recuperado de <https://www.academia.edu/10315097/Translation_Theory_vs_Film_Adaptation_Studies_Taxonomies_of_Recycling_and_Bryan_Fuller_s_Hannibal> [10/11/2015].<br />
Lack, Russell (1999). <em>La música en el cine.</em> Madrid: Cátedra. <br />
LoBrutto, Vicent (1994). <em>Sound on film: interviews withs Creators of Film Sound.</em> Londres: Praeger. <br />
Logsdon, Richard (2015). <em>Playing with Fire: An Examination of the Aesthetics of Collusion in NBC’s Hannibal.</em> Recuperado de <https://www.academia.edu/12105805/_Playing_with_Fire_An_Examination_of_the_Aesthetics_of_Collusion_in_NBC_s_Hannibal_> [10/11/2015].<br />
McAteer, John (2015). <em>Psychopaths, Aesthetes, and Gourmands: What Hannibal Has to Teach Us about Consuming Art.</em> Recuperado de <https://www.academia.edu/10710422/Psychopaths_Aesthetes_and_Gourmands_What_Hannibal_Has_to_Teach_Us_about_Consuming_Art [10/11/2015].<br />
Mundy, John (1999). <em>Popular Music On Screen. From Hollywood Musical to </em>Music Video. Manchester: Manchester University Press.<br />
Neumeyer, David y Buhler, James (2001). Analytical and Interpretive Approaches to Film Music (I): Analysing the Music. En K. Donnelly (ed). <em>Film Music. Critical Approaches </em>(pp. 16-38). Edimburgo: Edinburgh University Press.<br />
Nielsen, Elizabeth (2014). <em>I Feel Unstable: Use of Werewolf Narrative in NBC’s Hannibal. </em>Recuperado de <https://www.academia.edu/11470943/I_Feel_Unstable_Use_of_Werewolf_Narrative_in_NBC_s_Hannibal> [10/11/2015].<br />
Pendergast, Roy M. (1992). <em>Film Music: A Neglected Art</em> (2nd edition). New York: W. W. Norton & Company.<br />
Powrie, Phil, & Stilwell, Robynn (2006). <em>Changing Tunes: The Use of Pre-existing Music in Film</em>. Burlington: Ashgate Publishing Company.<br />
Richardson, John y Gorbman, Claudia (2013). Introduction. En J. Richardson, C. Gorbman y C. Vernallis (eds.). <em>The Oxford handbook of New Audiovisual Aesthetics </em>(pp.3-35). New York: Oxford University Press<em>. </em><br />
Rodríguez Bravo, Àngel (1998). <em>La dimensión sonora del lenguaje audiovisual</em>. Barcelona: Paidós.<br />
Ross, Alex (2008). <em>The Rest is Noise: Listening to the Twentieth Century</em>. New York: Picador. <br />
Schafer, Murray (1994). <em>The Soundscape: Our Sonic Environment and the Tuning of the World</em>. Vermont: Destinity Books.<br />
Torelló, Josep y Duran, Jaume (2014). Michel Chion en La audiovisión y una propuesta práctica sobre un fragmento de <em>Nostalgia</em> de Andrei Tarkovski. <em>L’Atalante,</em> 18, 111-117.<br />
Torrey, K. T. (2015). <em>Love for the Fannish Archive: Fuller’s Hannibal as Fanfiction | Antenna. </em>Recuperado de <http://blog.commarts.wisc.edu/2015/08/25/love-for-the-fannish-archive-fullers-hannibal-as-fanfiction/> [10/11/2015]<br />
Ullyatt, Tony (2012). To Amuse the Mouth: Anthropophagy in Thomas Harris’s Tetralogy of Hannibal Lecter Novels. <em>Journal of Literary Studies</em>,<em> 28</em>(1), 4-20. DOI: 10.1080/02564718.2012.644464<br />
Vaage, Margrethe Bruun. (2015). <em>The Antihero in American Television</em>. New York: Routledge.<br />
Winters, Ben (2010). The non-diegetic fallacy: film, music, and narrative space. <em>Music & Letters</em>,<em> 91</em>(2), 224–244. DOI<strong>: </strong>10.1093/ml/gcq019</p>