Aural traumatization in Marte um (2022):

The social horror implied by the sound

Authors

DOI:

https://doi.org/10.22475/rebeca.v15n2.1447

Keywords:

Marte um, Brazilian black cinema, Cinematic Sound, Social horror

Abstract

The social horror presented in Gabriel Martins' Marte um (2022) shows that this cinematic genre is not solely about monsters and supernatural realities. For Cánepa and Carreiro (2025), the daily life of urban spaces in Brazil, their relationships and tensions, is configured as a place for the manifestation of various historical anxieties and anguishes. For Black people from the periphery, this legacy erupts in a clear and cruel way. This work draws on studies of cinematic sound by Chion (2011), Fisher (2016), Rogers (2021), and Smith (2013), and also encompasses the idea of sound as a racializing marker, proposed by Stoever (2016). Through the analysis of sequences from the film, the article invokes the authors to support the two hypotheses of this work: (1) social horror erupts through sound marks and techniques and (2) sound presents itself as an antagonist in the narrative, having a life of its own, provoking changes in behavior, panic and suffering in the character and acting independently of the visual supremacy of cinema.

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Author Biographies

Swahili Vidal Moreira, Universidade Estadual de Campinas

Master’s candidate in Multimedia at Universidade Estadual de Campinas.

Renan Paiva Chaves, Universidade Estadual de Campinas - UNICAMP

Ph.D. in Multimedia from Universidade Estadual de Campinas. Professor in the Graduate Program in Multimedia at Universidade Estadual de Campinas.

References

ALTMAN, Rick. The material heterogeneity of recorded sound. In: ALTMAN, Rick (ed.). Sound theory, sound practice. Nova York: Routledge, 1992. p. 15-31.

BENTES, Ivana. Sertões e favelas no cinema brasileiro contemporâneo: estética e cosmética da fome. Alceu, Rio de Janeiro, v. 8, n. 15, p. 242-255, 2007. Disponível em: https://revistaalceu-acervo.com.puc-rio.br/media/Alceu_n15_Bentes.pdf. Acesso em: 02 jul. 2026.

CÁNEPA, Laura. Terror incidental? Revista Interlúdio, São Paulo, 13 jan. 2013.

CÁNEPA, Laura Loguercio; CARREIRO, Rodrigo. Cinema de horror: uma introdução. São Paulo: Gênio Editorial, 2025.

CHION, Michel. Audiovisão: som e imagem no cinema. Lisboa: Edições Texto &Grafia, 2008.

FISHER, Mark. The weird and the eerie. London: Repeater Books, 2016.

HAMBURGER, Esther. Violência e pobreza no cinema brasileiro recente: reflexões sobre a ideia de espetáculo. Novos Estudos CEBRAP, São Paulo, n. 78, p. 113-129, 2007. Disponível em: https://doi.org/10.1590/S0101-33002007000200011. Acesso em: 02 jul. 2026.

MARTE um. Direção: Gabriel Martins. Produção: Filmes de Plástico. Brasil, 2022. 115min, sonoro, colorido.

PEELE, Jordan. Jordan Peele’s ‘social thriller’ launches a directorial career. [Entrevista cedida a] Michael Phillips. Chicago Tribune, 24 fev. 2017.

RANCIÈRE, Jacques. A partilha do sensível: estética e política. Tradução de Mônica Costa Netto. São Paulo: Editora 34, 2005.

ROGERS, Holly. Sonic elongation and sonic aporia: two modes of disrupted listening in film. In: CENCIARELLI, Carlo (ed.). The Oxford Handbook of Cinematic Listening. Oxford: Oxford University Press, 2021. p. 427-449.

SMITH, Jeff. The Sound of Intensified Continuity. In: RICHARDSON, John; GORBMAN, Claudia; VERNALIS, Carol (eds).The Oxford Handbook of New Audiovisual Aesthetics. Oxford: Oxford University Press, 2013.p. 331–56.

SOARES, Jéssica Patrícia. Nas sombras, às margens: o Reprimido e o Outro no cinema brasileiro de horror contemporâneo. 2021. Mestrado (Dissertação). Universidade Federal do Rio Grande do Sul, Porto Alegre, 2021.

STERNE, Jonathan. The audible past: cultural origins of sound reproduction. Durham: Duke University Press, 2003.

STOEVER, Jennifer Lynn. The Sonic Color Line: race and the cultural politics of listening. Nova York: New York University Press, 2016.

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Published

2026-08-10

Issue

Vol. 15 No. 2 (2026): Rebeca 30

Section

Dossier

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Copyright (c) 2026 Swahili Vidal Moreira, Renan Paiva Chaves

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