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Master's Dissertation
DOI
https://doi.org/10.11606/D.27.2013.tde-29102013-093141
Document
Author
Full name
Gabriela Pires Machado
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2013
Supervisor
Committee
Tavares, Monica Baptista Sampaio (President)
Rosa, Almir Antonio
Salles, Cecília Almeida
Title in Portuguese
Cinema-passagem: a tradução intersemiótica e a intermídia no intercurso da criação audiovisual contemporânea
Keywords in Portuguese
Intermídia
Linguagem cinematográfica
Processos criativos
Tradução Intersemiótica
Abstract in Portuguese
Este trabalho pretende compreender como os conceitos de Intermídia (HIGGINS, 1966) e Tradução Intersemiótica (PLAZA, 1987) têm interferido e modificado os processos de criação no cinema contemporâneo, principalmente o cinema experimental. Valendo-se da semiótica peirciana, busca-se compreender como cada uma das funções da linguagem atua na linguagem cinematográfica e permite chegar a diferentes arranjos ao colocar em jogo uma extensa rede de linguagens e mídias fundadas, sobretudo, na transformação como qualidade. Levando em consideração a mudança dos paradigmas em relação aos processos criativos das imagens em movimento ao longo do século XX, e, principalmente, a partir dos anos 1960, buscou-se refletir como estas mudanças possibilitaram o surgimento de um estado da arte mais fluido e participativo, e que aponta para a necessidade de se fazer uma revisão da noção de autor. As obras de Alain Resnais (1922-) e Peter Greenaway (1942-) foram somadas à pesquisa a fim de permitir compreender e identificar, dentro de seus respectivos processos criativos, as questões que tocam a produção artística fundada no pensamento inter-artes e nas poéticas da transformação.
Keywords in English
Cinematographic language
Creative processes
Intermedia
Intersemiotic translation
Abstract in English
This paper aims at understanding how the Intermedia (HIGGINS, 1966) and Intersemiotic Translation (PLAZA, 1987) concepts have interfered and modified the creation processes in the contemporaneous cinema, mainly the experimental one. Using Peirce's semiotic, we pursue to understand how each of the functions of language works in cinematographic language and allow us to come to different arrangements, putting in evidence an extensive language and media net that are mostly grounded in transformation as a definition of quality. Having in mind the paradigm shift in relation to the creative processes of images in motion during the XX century and mainly from the 1960s on, we consider how these changes made it possible the emerging of a state-of-the-art more participative that made necessary a review on the author's participation. Alain Resnais (1922-) and Peter Greenaway's (1942-) works were added to this research to allow us to understand as well as identify the issues that are related to the artistic production in inter-arts and the transformation of poetries.
 
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Publishing Date
2013-10-29
 
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