Papers by Eliane Gordeeff
AVANCA | CINEMA
This article has the purpose of discussing about the representation of dreams, memory, reverie or... more This article has the purpose of discussing about the representation of dreams, memory, reverie or psychedelic moments of the character – diegetic imaginarium – by the Audiovisual (Live-action Cinema and Animation) for the development and understanding of film analysis. With this objective the adopted borders to the imaginarium (the caracter mental image) are approached; its role in the construction of narratives, its representations, and how it favors the abstraction and deepening of the public in the stories. Thus, it is developed a particular looking over the animated image, when it is responsible for the representation of the illusional image, while the filmed one represents the reality of the same diegese. The paper is based on studies about mental image in relation to Animation (Sifianos, 2012), the perception of the cinematographic image (Metz, 1975a, 1994; Morin, 1956) and of the mental image (Arnheim, 1971, 2004). The subject is also developed with evaluations and considerat...
Con A de animación
Este artículo tiene el propósito de analizar cómo una animación en stop-motion puede ser utilizad... more Este artículo tiene el propósito de analizar cómo una animación en stop-motion puede ser utilizada para representar escenas específicas de una narrativa en acción real: las de los sueños, los recuerdos, los pensamientos y las alucinaciones del protagonista, o sea, su imaginarium diegético. También se observa sobre las apropiaciones de otros medios visuales para las representaciones de ambientes y emociones. Los análisis se centraron en la secuencia animada del sueño del personaje de Frida Kahlo, y sobre la escena en la que ella se corta el pelo, del largometraje de Julie Taymor Frida (2002). De acuerdo con los conceptos narrativos, del cine,
Estudio Artistas Sobre Outras Obras, 2011
Con A de animación
Este artículo tiene como propósito analizar cómo algunos aspectos de la materialidad de la técnic... more Este artículo tiene como propósito analizar cómo algunos aspectos de la materialidad de la técnica de animación stop-motion puede complementar y ayudar a su narrativa. El estudio se realizó a partir del cortometraje Adagio (Garri Bardin, 2000), de acuerdo con los conceptos de la semiótica, del cine, de la narrativa y en base a una entrevista con el director. Por lo tanto, ha sido posible comprobar cómo la expresividad puede ser presentada por medio de la utilización física, representativa y simbólica del material utilizado en la preparación de las imágenes. En consecuencia, el presente ensayo expande la comprensión de la riqueza estética de animación como un arte, una técnica y un medio de mensaje.
Revista Croma, Estudos Artísticos, 2018
The purpose of this article is to reflect how the use of animated and filmed images in the same n... more The purpose of this article is to reflect how the use of animated and filmed images in the same narrative, awakens other understandings. From the animated feature, The Boy and the World (Abreu, 2013), which uses an aesthetic of the chil-dren's view, the discrepancy presented between two visualizations is analyzed and the entailed consequences. For this, were regarded the works of André Bazin (in the field of cinema), José-Manuel Xavier (in the field of animation) and Rudolf Arnheim (in the field of image study).
Resumo: O objetivo deste artigo é refletir como a utilização da imagem animada e fil-mada, em uma mesma narrativa, desperta outros entendimentos. A partir da longa-me-tragem de animação, O Menino e o Mundo (Abreu, 2013), que utiliza a estética do olhar infantil, é analisada a discrepância apresen-tada entre as duas visualidades e as conse-quências que isso acarreta. Para tanto, foram considerados os trabalhos de André Bazin (no campo do cinema), José-Manuel Xavier (no campo da animação) e Rudolf Arnheim (no campo do estudo da imagem).
Caderno de Resumos do SEMINÁRIO NACIONAL CINEMA EM PERSPECTIVA, 2018
Este artigo objetiva analisar o desenho animado como um instrumento de representação do imaginari... more Este artigo objetiva analisar o desenho animado como um instrumento de representação do imaginarium diegético em uma narrativa fílmica live-action. A questão da utilização do desenho como forma de representação visual da memória da personagem, assim como o próprio momento em que ela se insere, são os pontos considerados neste trabalho. A produção analisada é O Homem Que Copiava (2003) de Jorge Furtado, mais especificamente, a sequência em que a personagem André (Lázaro Ramos) conta e lembra da sua infância. Essa memória foi representada em desenho animado realizado pelo cartunista Allan Sieber. Mas serão apresentadas algumas observações sobre o longa-metragem, com o objetivo de facilitar a compreensão da hibridação de suas imagens. Assim, são abordadas questões da narrativa de acordo com trabalhos de Gérard Genette (1972) e Gaudreault & Jost (2005); questões sobre o Desenho, os Quadrinhos e o pastiche são comentados segundo os estudos de Rudolf Arnheim (2004), Álvaro Moya (1972) e Fredric Jameson (1982, 1988). Já em relação a Animação em si, é esteticamente analisada tendo em vista os trabalhos de Sébastien Denis (2010) e de Georges Sifianos (2012). Este trabalho é parte da Tese de Doutorado em Belas-Artes, especialidade Multimédia, cujo título é A Representação do Imaginarium Diegético pela Animação, no Cinema Live-action-a ser defendida na Faculdade de Belas-Artes da Universidade de Lisboa, sob a orientação do Prof. Doutor João Paulo Queiroz, ainda este ano.
CONFIA 2019 Proceedings, 2019
This article presents an analysis of the live-action film The Very Harold &
Kumar 3D Christmas (S... more This article presents an analysis of the live-action film The Very Harold &
Kumar 3D Christmas (Strauss-Schulson, 2011), with an example of the animated image used to represent the hallucination of the characters – their diegetic imaginaria – within a live-action narrative. It also highlights the characteristics of animated comedy, developed by Paul Wells (1998), but identified in this real image production. The aim is to list these moments and reflect on the integration of these two means of creating moving images, taking in consideration the works of Barry Purves, Jacques Aumont and Paul Wells.
The purpose of this article is to analyze the use of hybridization of the animated and filmed ima... more The purpose of this article is to analyze the use of hybridization of the animated and filmed image in the creation of a narrative that propitiates the empathy of the public. The work in question is the short film Fragments (2016), by the Portuguese animator José Miguel Ribeiro. The questions of variation of visual information and how the spectator receives these images are developed for the analyzes — through the works of George Sifanos (2012), of André Gaudreault and François Jost (1995) and of Marie-José Mondzaim (2015). /
O objetivo deste artigo é analisar o uso da hibridização da imagem animada e filmada na criação de uma narrativa que propicia a empatia do público. A obra em questão é o curta-metragem Estilhaços (2016), do animador português José Miguel Ribeiro. Para as análises são desenvolvidas as questões da variação de informação visual e de como o espetador recebe essas imagens — através dos trabalhos de George Sifanos (2012), de André Gaudreault e François Jost (1995) e de Marie-José Mondzaim (2015).
The goal of this article is to reflect on the issues of Modernity and Post-Modernity reflected in... more The goal of this article is to reflect on the issues of Modernity and Post-Modernity reflected in Audiovisual specifically on work produced for the big Cinema - both live-action and animation.
As a product of modernity, the Cinema, as all arts, has been changing over time, due to technological, political and sociological contexts. Today, in times of globalization and radical technological advances, what could specify Modern Cinema and Cinema Postmodern? Is there validity in this question?
To develop this study it will be considered works on Cinema and Philosophy, such as those of Jacques Aumont, Fernando Mascarello, Sebastien Denis, Fredric Jameson, Jean Baudrillard, Slavoj Žižek; and films like Shrek (2001) The Lovely Bones (2009), 2 Rabbits (2011) and Big Hero (2014).
This work is part of a larger investigation, doctorate in Multimedia, which is underway at the Faculty of Fine Arts, University of Lisbon.
This paper is a reeection on Animation: its technical, visual and semiotic characteristics, with ... more This paper is a reeection on Animation: its technical, visual and semiotic characteristics, with the objective of comprehensively understanding of its aesthetic possibilities in comparison to live-action cinema. It analyzes some historical issues, but focuses mainly on technical aspects (the drawing , Stop Motion and 3D processes), of the aura, of its visual and connota-tive representation, of the ction, of the virtuality and consistency of its images, reaching an overview of how these images are created. More emphasis is placed on the diierences than to the similarities between these two forms of creating moving images, with greater deepening in terms of questions animation, but having as reference live-action Cinema, due to its privileged position in the Audiovisual art form. Those analyses are based on the work of several theorists, among them Walter Benjamin, Jacques Aumont, Edgar Morin, and to assist in their understanding, several animation and live-action movies are cited as examples. This work is part of a PhD in Multimedia at the Faculty of Fine Arts of Lisbon University.
This paper reflects how the animated image can aggregate different contexts through considered po... more This paper reflects how the animated image can aggregate different contexts through considered postmodern characteristics. The work analyzed is the short Fado Lusitano (1995), by animator Abi Feijó, that shows the 'collage' as main characteristic. Through cutout technique and many appropriations, it puts together various contexts that result in a representation of Portugal history.
In this paper The Arte of Animation is analised in comparison to other artistics expressions and... more In this paper The Arte of Animation is analised in comparison to other artistics expressions and taking into account the digital current issues. This text is part of a master's research: Aesthetic Interference, at Federal University of Rio de Janeiro, and finished in 2011.
The wealth of possibilities to construct imagery and consequently, aesthetic, are almost unquanti... more The wealth of possibilities to construct imagery and consequently, aesthetic, are almost unquantifiable in the animation field – only in the techniques of animation, it is possible to classify more than 10 varieties: drawing on paper, drawing on film, painting on glass, rotoscoping, sand animation, with puppets, with objects with clay, with people, with pins and digital versions (2D and 3D).
In the case of Stop-motion animation, the very diversity of materials used in their productions, result in the construction of a deep and complex image both visually (with textures, contrasts and depths) and in terms of meanings and representations – works of czech animator Jan Svankmajer are striking examples.
Besides this materiality, inherent in the act of encouraging, one must also consider that in the construction of the characters and diegetic worlds of their stories, the animator uses not only the technicalities of the codes but also cinematic codes – montage, camera, light and color – the visual construction of their messages – narratives or non narratives. In the first case are similar to live action movies and also use of narrative codes. In the second, resemble kaleidoscopic controlled by the animator – but thrill, surprise, and instigate the public’s eye, always voyeur.
But regardless of these issues, the animated image is invariably the result of simulation of motion. They are inanimate objects, or scratch paper, which are presented sequentially seen live, laugh, suffer and move. This “falsity” often conveys an impression of reality – especially with new technology – which broke paradigms arousing other techniques and ways to animate – which have endowed this simulation with an astonishing degree of verisimilitude, creating true simulacra. The art of animation, primarily, is the art of simulation – the movements, the scenarios, the environments and the characters’ own anima.As it can be seen, to look into these maers becomes urgent not only because of the interest that media has shown by this art, but primarily
The article presents the cultural reflections embedded in the animation De Janela para o Cinema (... more The article presents the cultural reflections embedded in the animation De Janela para o Cinema (1999), by Quiá Rodrigues. Manually working with puppets, and using movie myths like Nosferatu, Charlie Chaplin and Marilyn Monroe, the animator creates a narrative through quotations, allusions and parody. The result is a “very Brazilian” mix in the mold of Oswald de Andrade’s autophagy, with references to “the aesthetics of hunger,” the ‘chanchadas’ and Tropicalia.
The objective of this paper is to present how a work of animation provides us with images of deep... more The objective of this paper is to present how a work of animation provides us with images of deep emotional appeal through its materiality. The work in question is the short film In Spite of Everything (2003), by stop-motion animator uruguayan Walter Tournier, who at certain moments gives the appearance of a theatrical performance, effect produced by the use of elements out of diegesis - where the puppet “lives” in the same plane of reality its animator. It is a protest against war.
A partir de 1990, a arte da animação tem se desenvolvido amplamente com a informatização dos meio... more A partir de 1990, a arte da animação tem se desenvolvido amplamente com a informatização dos meios de produção. E como já observavam Adorno e Horkheimer (1996, p. 65), as obras animadas se transformaram em produtos á mercê das manipulações econômicosociais do mercado, como também elementos mantenedores do sistema – e de fuga da realidade, seguindo os estudos de Guy Debord (2003). Assim, são lançadas no mercado superproduções que extasiam o público, sendo verdadeiros espetáculos de efeitos digitais.
Porém, mesmo neste contexto, existem iniciativas de desenvolvimento de uma arte menos mercantilista. Pois “espetáculo”, não significa apenas eventos com forte aparato cenográfico e de efeitos, mas também “olhar”, “observar atentamente”, “contemplar” – latim, spectaculu (HOLANDA, 1999, p. 815).
Uma das instituições que tem por filosofia o desenvolvimento
da linguagem audiovisual é o National Film Board of Canada, sendo notoriamente conhecido como um polo produtor de obras de animação autoral, obras que possuem “um caráter, uma personalidade, uma vida real, uma psicologia e até uma ‘visão de mundo’ que concentrem sua função sobre sua própria pessoa e sobre a sua ‘vontade de expressão pessoal” (VERNET in: AUMONT, 2008, p. 110). Tais projetos resultam numa manifestação artística homogênea, e visualmente mais pregnante que, como confirma Alexander Petrov, “se mantém a individualidade, sua ideia, a especificidade do estilo do animador, sua peculiaridade estética, tudo o que geralmente se perde nas grandes produções” (2009).
Em 1999 um dos projetos selecionados pela instituição foi Aria
(2001), um curta-metragem de animação com bonecos baseado na ópera Madame Butterfly (1904), de Giacomo Puccini (1858-1924), do animador russo, radicado em Oslo, Piotr Sapegin.
--
Since 1990, the art of animation has developed extensively with the computerization of the means of production. And as observed Adorno and Horkheimer (1996, p 65), the animated works turned into products at the mercy of economic and social market manipulations, as well as maintainers elements of the system - and escape from reality, following the Guy Debord studies (2003). So, blockbusters are launched in the market, to pleasure of the public, as true spectacles of digital effects.
But even in this context, there are development initiatives of an art less mercantilist. For "spectacle" does not mean only events with strong scenic apparatus and effects, but also "look", "watch closely", "contemplate" - Latin Spectaculu (HOLLAND, 1999, p 815).
An institution whose philosophy development the audiovisual language is the National Film Board of Canada, It is notoriously known as a producer of polo authorial animated films, works that have a character, a personality, a real life, a psychology and even a world view "to concentrate their function on their own person and on their' willingness to personal expression"(VERNET in : AUMONT, 2008, p 110). Such projects result in a homogeneous artistic expression, and visually more pregnant that, as confirmed by Alexander Petrov, "remains individuality, your idea, the specificity of the animator's style, its aesthetic peculiarity, everything that usually gets lost in the big productions" (2009).
In 1999 one of the projects selected by the institution was "Aria"
(2001), an animated short film with puppets based on the Madame Butterfly opera(1904), by Giacomo Puccini (1858-1924), by russian animator, based in Oslo, Piotr Sapegin.
Essa entrevista foi feita em 21/09/2009, como parte de uma pesquisa sobre animação Stop motion pa... more Essa entrevista foi feita em 21/09/2009, como parte de uma pesquisa sobre animação Stop motion para a dissertação de mestrado, Interferências Estéticas: a técnica de Stop motion na narrativa de animação, defendida em 2011, na UFRJ. Um dos recortes da pesquisa foi o curta-metragem De Janela pro Cinema, de 1999, direção de Quiá Rodrigues.
Essa entrevista foi feita em 21/09/2009, como parte da pesquisa de campo sobre animação Stop moti... more Essa entrevista foi feita em 21/09/2009, como parte da pesquisa de campo sobre animação Stop motion, para a dissertação de mestrado, Interferências Estéticas: a técnica de Stop motion na narrativa de animação, defendida em 2011, na UFRJ. Um dos recortes da pesquisa foi o curta-metragem De Janela pro Cinema, de 1999, direção de Quiá Rodrigues, que foi a primeira animação brasileira a ser premiada no Anima Mundi, em 1999, e selecionada pelo Festival de Cannes, em 2000.
This paper examines the plastic expressiveness of Tragic Story with Happy Ending (2005), a work o... more This paper examines the plastic expressiveness of Tragic Story with Happy Ending (2005), a work of portuguese animator Regina Pessoa, who tells of a girl who does not fit the community. In an intimate setting but with a dramatic visual narrative in black and white, the representation of that character’s emotional tension, refers to the woodcuts of brazilian Oswaldo Goeldi and works of german expressionist cinema, especially the Cabinet of Dr. Caligari (1920), by Robert Weine.
The objective of this article is to present the animation as an artistic expression that uses opt... more The objective of this article is to present the animation as an artistic expression that uses optical effects to present stories and worldviews, through a projectual process – the design. The animated image is analyzed as an intension of its creator, as an expression of his will, where these images are created in order to simulate movement and/or create stories. But the effective construction of these images is only possible through an ordered system of methodological and projectual actions.
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Papers by Eliane Gordeeff
Resumo: O objetivo deste artigo é refletir como a utilização da imagem animada e fil-mada, em uma mesma narrativa, desperta outros entendimentos. A partir da longa-me-tragem de animação, O Menino e o Mundo (Abreu, 2013), que utiliza a estética do olhar infantil, é analisada a discrepância apresen-tada entre as duas visualidades e as conse-quências que isso acarreta. Para tanto, foram considerados os trabalhos de André Bazin (no campo do cinema), José-Manuel Xavier (no campo da animação) e Rudolf Arnheim (no campo do estudo da imagem).
Kumar 3D Christmas (Strauss-Schulson, 2011), with an example of the animated image used to represent the hallucination of the characters – their diegetic imaginaria – within a live-action narrative. It also highlights the characteristics of animated comedy, developed by Paul Wells (1998), but identified in this real image production. The aim is to list these moments and reflect on the integration of these two means of creating moving images, taking in consideration the works of Barry Purves, Jacques Aumont and Paul Wells.
O objetivo deste artigo é analisar o uso da hibridização da imagem animada e filmada na criação de uma narrativa que propicia a empatia do público. A obra em questão é o curta-metragem Estilhaços (2016), do animador português José Miguel Ribeiro. Para as análises são desenvolvidas as questões da variação de informação visual e de como o espetador recebe essas imagens — através dos trabalhos de George Sifanos (2012), de André Gaudreault e François Jost (1995) e de Marie-José Mondzaim (2015).
As a product of modernity, the Cinema, as all arts, has been changing over time, due to technological, political and sociological contexts. Today, in times of globalization and radical technological advances, what could specify Modern Cinema and Cinema Postmodern? Is there validity in this question?
To develop this study it will be considered works on Cinema and Philosophy, such as those of Jacques Aumont, Fernando Mascarello, Sebastien Denis, Fredric Jameson, Jean Baudrillard, Slavoj Žižek; and films like Shrek (2001) The Lovely Bones (2009), 2 Rabbits (2011) and Big Hero (2014).
This work is part of a larger investigation, doctorate in Multimedia, which is underway at the Faculty of Fine Arts, University of Lisbon.
In the case of Stop-motion animation, the very diversity of materials used in their productions, result in the construction of a deep and complex image both visually (with textures, contrasts and depths) and in terms of meanings and representations – works of czech animator Jan Svankmajer are striking examples.
Besides this materiality, inherent in the act of encouraging, one must also consider that in the construction of the characters and diegetic worlds of their stories, the animator uses not only the technicalities of the codes but also cinematic codes – montage, camera, light and color – the visual construction of their messages – narratives or non narratives. In the first case are similar to live action movies and also use of narrative codes. In the second, resemble kaleidoscopic controlled by the animator – but thrill, surprise, and instigate the public’s eye, always voyeur.
But regardless of these issues, the animated image is invariably the result of simulation of motion. They are inanimate objects, or scratch paper, which are presented sequentially seen live, laugh, suffer and move. This “falsity” often conveys an impression of reality – especially with new technology – which broke paradigms arousing other techniques and ways to animate – which have endowed this simulation with an astonishing degree of verisimilitude, creating true simulacra. The art of animation, primarily, is the art of simulation – the movements, the scenarios, the environments and the characters’ own anima.As it can be seen, to look into these maers becomes urgent not only because of the interest that media has shown by this art, but primarily
Porém, mesmo neste contexto, existem iniciativas de desenvolvimento de uma arte menos mercantilista. Pois “espetáculo”, não significa apenas eventos com forte aparato cenográfico e de efeitos, mas também “olhar”, “observar atentamente”, “contemplar” – latim, spectaculu (HOLANDA, 1999, p. 815).
Uma das instituições que tem por filosofia o desenvolvimento
da linguagem audiovisual é o National Film Board of Canada, sendo notoriamente conhecido como um polo produtor de obras de animação autoral, obras que possuem “um caráter, uma personalidade, uma vida real, uma psicologia e até uma ‘visão de mundo’ que concentrem sua função sobre sua própria pessoa e sobre a sua ‘vontade de expressão pessoal” (VERNET in: AUMONT, 2008, p. 110). Tais projetos resultam numa manifestação artística homogênea, e visualmente mais pregnante que, como confirma Alexander Petrov, “se mantém a individualidade, sua ideia, a especificidade do estilo do animador, sua peculiaridade estética, tudo o que geralmente se perde nas grandes produções” (2009).
Em 1999 um dos projetos selecionados pela instituição foi Aria
(2001), um curta-metragem de animação com bonecos baseado na ópera Madame Butterfly (1904), de Giacomo Puccini (1858-1924), do animador russo, radicado em Oslo, Piotr Sapegin.
--
Since 1990, the art of animation has developed extensively with the computerization of the means of production. And as observed Adorno and Horkheimer (1996, p 65), the animated works turned into products at the mercy of economic and social market manipulations, as well as maintainers elements of the system - and escape from reality, following the Guy Debord studies (2003). So, blockbusters are launched in the market, to pleasure of the public, as true spectacles of digital effects.
But even in this context, there are development initiatives of an art less mercantilist. For "spectacle" does not mean only events with strong scenic apparatus and effects, but also "look", "watch closely", "contemplate" - Latin Spectaculu (HOLLAND, 1999, p 815).
An institution whose philosophy development the audiovisual language is the National Film Board of Canada, It is notoriously known as a producer of polo authorial animated films, works that have a character, a personality, a real life, a psychology and even a world view "to concentrate their function on their own person and on their' willingness to personal expression"(VERNET in : AUMONT, 2008, p 110). Such projects result in a homogeneous artistic expression, and visually more pregnant that, as confirmed by Alexander Petrov, "remains individuality, your idea, the specificity of the animator's style, its aesthetic peculiarity, everything that usually gets lost in the big productions" (2009).
In 1999 one of the projects selected by the institution was "Aria"
(2001), an animated short film with puppets based on the Madame Butterfly opera(1904), by Giacomo Puccini (1858-1924), by russian animator, based in Oslo, Piotr Sapegin.
Resumo: O objetivo deste artigo é refletir como a utilização da imagem animada e fil-mada, em uma mesma narrativa, desperta outros entendimentos. A partir da longa-me-tragem de animação, O Menino e o Mundo (Abreu, 2013), que utiliza a estética do olhar infantil, é analisada a discrepância apresen-tada entre as duas visualidades e as conse-quências que isso acarreta. Para tanto, foram considerados os trabalhos de André Bazin (no campo do cinema), José-Manuel Xavier (no campo da animação) e Rudolf Arnheim (no campo do estudo da imagem).
Kumar 3D Christmas (Strauss-Schulson, 2011), with an example of the animated image used to represent the hallucination of the characters – their diegetic imaginaria – within a live-action narrative. It also highlights the characteristics of animated comedy, developed by Paul Wells (1998), but identified in this real image production. The aim is to list these moments and reflect on the integration of these two means of creating moving images, taking in consideration the works of Barry Purves, Jacques Aumont and Paul Wells.
O objetivo deste artigo é analisar o uso da hibridização da imagem animada e filmada na criação de uma narrativa que propicia a empatia do público. A obra em questão é o curta-metragem Estilhaços (2016), do animador português José Miguel Ribeiro. Para as análises são desenvolvidas as questões da variação de informação visual e de como o espetador recebe essas imagens — através dos trabalhos de George Sifanos (2012), de André Gaudreault e François Jost (1995) e de Marie-José Mondzaim (2015).
As a product of modernity, the Cinema, as all arts, has been changing over time, due to technological, political and sociological contexts. Today, in times of globalization and radical technological advances, what could specify Modern Cinema and Cinema Postmodern? Is there validity in this question?
To develop this study it will be considered works on Cinema and Philosophy, such as those of Jacques Aumont, Fernando Mascarello, Sebastien Denis, Fredric Jameson, Jean Baudrillard, Slavoj Žižek; and films like Shrek (2001) The Lovely Bones (2009), 2 Rabbits (2011) and Big Hero (2014).
This work is part of a larger investigation, doctorate in Multimedia, which is underway at the Faculty of Fine Arts, University of Lisbon.
In the case of Stop-motion animation, the very diversity of materials used in their productions, result in the construction of a deep and complex image both visually (with textures, contrasts and depths) and in terms of meanings and representations – works of czech animator Jan Svankmajer are striking examples.
Besides this materiality, inherent in the act of encouraging, one must also consider that in the construction of the characters and diegetic worlds of their stories, the animator uses not only the technicalities of the codes but also cinematic codes – montage, camera, light and color – the visual construction of their messages – narratives or non narratives. In the first case are similar to live action movies and also use of narrative codes. In the second, resemble kaleidoscopic controlled by the animator – but thrill, surprise, and instigate the public’s eye, always voyeur.
But regardless of these issues, the animated image is invariably the result of simulation of motion. They are inanimate objects, or scratch paper, which are presented sequentially seen live, laugh, suffer and move. This “falsity” often conveys an impression of reality – especially with new technology – which broke paradigms arousing other techniques and ways to animate – which have endowed this simulation with an astonishing degree of verisimilitude, creating true simulacra. The art of animation, primarily, is the art of simulation – the movements, the scenarios, the environments and the characters’ own anima.As it can be seen, to look into these maers becomes urgent not only because of the interest that media has shown by this art, but primarily
Porém, mesmo neste contexto, existem iniciativas de desenvolvimento de uma arte menos mercantilista. Pois “espetáculo”, não significa apenas eventos com forte aparato cenográfico e de efeitos, mas também “olhar”, “observar atentamente”, “contemplar” – latim, spectaculu (HOLANDA, 1999, p. 815).
Uma das instituições que tem por filosofia o desenvolvimento
da linguagem audiovisual é o National Film Board of Canada, sendo notoriamente conhecido como um polo produtor de obras de animação autoral, obras que possuem “um caráter, uma personalidade, uma vida real, uma psicologia e até uma ‘visão de mundo’ que concentrem sua função sobre sua própria pessoa e sobre a sua ‘vontade de expressão pessoal” (VERNET in: AUMONT, 2008, p. 110). Tais projetos resultam numa manifestação artística homogênea, e visualmente mais pregnante que, como confirma Alexander Petrov, “se mantém a individualidade, sua ideia, a especificidade do estilo do animador, sua peculiaridade estética, tudo o que geralmente se perde nas grandes produções” (2009).
Em 1999 um dos projetos selecionados pela instituição foi Aria
(2001), um curta-metragem de animação com bonecos baseado na ópera Madame Butterfly (1904), de Giacomo Puccini (1858-1924), do animador russo, radicado em Oslo, Piotr Sapegin.
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Since 1990, the art of animation has developed extensively with the computerization of the means of production. And as observed Adorno and Horkheimer (1996, p 65), the animated works turned into products at the mercy of economic and social market manipulations, as well as maintainers elements of the system - and escape from reality, following the Guy Debord studies (2003). So, blockbusters are launched in the market, to pleasure of the public, as true spectacles of digital effects.
But even in this context, there are development initiatives of an art less mercantilist. For "spectacle" does not mean only events with strong scenic apparatus and effects, but also "look", "watch closely", "contemplate" - Latin Spectaculu (HOLLAND, 1999, p 815).
An institution whose philosophy development the audiovisual language is the National Film Board of Canada, It is notoriously known as a producer of polo authorial animated films, works that have a character, a personality, a real life, a psychology and even a world view "to concentrate their function on their own person and on their' willingness to personal expression"(VERNET in : AUMONT, 2008, p 110). Such projects result in a homogeneous artistic expression, and visually more pregnant that, as confirmed by Alexander Petrov, "remains individuality, your idea, the specificity of the animator's style, its aesthetic peculiarity, everything that usually gets lost in the big productions" (2009).
In 1999 one of the projects selected by the institution was "Aria"
(2001), an animated short film with puppets based on the Madame Butterfly opera(1904), by Giacomo Puccini (1858-1924), by russian animator, based in Oslo, Piotr Sapegin.
que é somente nas últimas décadas têm chamado a atenção dos Film Studies, ao contrário do Cinema live-action. O contexto teórico geral é constituído pelos contributos de Marshall McLuhan (1995), sobre os Hot & Cool Media, e o conceito de “rutura de um sistema/meio”.
Hipótese: É devido às diferenças visuais entre a imagem animada e a filmada, e as características da Animação, que potencializam a abstração imagética da narrativa do nível intra-diegético para o meta-diegético (Genette, 1972), proporcionando assim ao público outro nível de receção.
Kumar 3D Christmas (Strauss-Schulson, 2011), with an example of the animated image used to represent the hallucination of the characters – their diegetic imaginaria – within a live-action narrative. It also highlights the characteristics of animated comedy, developed by Paul Wells (1998), but identified in this real image production. The aim is to list these moments and reflect on the integration of these two means of creating moving images, taking in consideration the works of Barry Purves, Jacques Aumont and Paul Wells.