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Approche sémio-pragmatique en réception et production des sons au cinéma. Interpréter et qualifier les ambiances sonores cinématographiques

Abstract : Our research is interested in an original object of study: cinematic soundscapes. Intuitively, the expression "soundscape" of a film or a moment in a film can readily express an overall sensation brought together by all the elements of the soundtrack. It would then be like an atmosphere which, through sound, would create a particular climate, penetrate images, invade the film and become present in the mind of the viewer. But in the case which concerns us, the atmosphere, even if it maintains certain links with the common sense of a feeling and an overall impression (as described above), is to be considered differently. The sound environment that concerns our research work is less difficult to define ; it's more simply one of the four elements of the soundtrack. In fact, in the sound of a film, the atmosphere is combined with voices, music and noise. This typology is justified from a semiological point of view. The voices, words or dialogues carry the discourse, the language, the digital dimension of communication but also its analog dimension through intonations. The music, composed from Danhauser's music theory or written as concrete music, even if it is not possible to specify all its functions in a few words expresses movement, marks social, ethnic, geographical environments (for example Japan), cultural or historical (for example a medieval ages), it reveals the emotions of the characters and guides the viewer in the narrative biases of the film. Noises are generally salient sounds, often synchronous with the image, which are inserted into the story to mark an event or an action. The atmospheres, unlike other sounds, are not noticeable and are not intrusive. They don't try to be prominent or catch the ear, but stay in the background. They envelop the viewer and give them the feeling of being anchored in an environment. Because, "much more than the sight which exteriorizes and distances the decor, hearing is really the sense by which the bodily immersion is felt in the ambient environment". Claude Bailblé qualifies the ambient sounds as “heard” sounds rather than “listened” sounds, because the omnidirectional ear, alerted by close events is especially sensitive to changes, to minute modifications of the sound data, while it tends to eliminate stable, permanent or immobile sounds from consciousness ”.
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Contributor : Rémi Adjiman <>
Submitted on : Thursday, February 27, 2020 - 9:05:30 AM
Last modification on : Saturday, February 29, 2020 - 1:36:25 AM


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Rémi Adjiman. Approche sémio-pragmatique en réception et production des sons au cinéma. Interpréter et qualifier les ambiances sonores cinématographiques. Sciences de l'information et de la communication. Aix-Marseille Université (AMU), 2019. ⟨tel-02483534v2⟩



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