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Att tala i ord och bild: : Den audiovisuella essäns historiska utvecklingWellton, Pascal January 2019 (has links)
The audio visual essay, or ”film/video essay” as it might be better known, has in recent years started to enjoy a level of popularity previously unseen in its long and obscure history; encouraging a proper reexamination of the genre through the years, to see how it has developed and changed throughout its lifetime to finally arrive at where it is today. With a lineage stretching back across the centuries, through to the 16th -century writings of Michel de Montaigne, the essay format, either as it manifests in the traditions of literature or the audio visual mode, is a curious form of expression, preferring an indirect route towards knowledge, marked by quandary, reflection, the trying and retrying ideas in a process built around the act of searching. Because of its unusual and shifting nature, on both a formal and discursive level, coupled with a propensity for analysis and dialectical reasoning, it has been a staple of transgressive aesthetic practices, landing it with several of leading experimental filmmakers and movements of the pre- and postwar eras. Interestingly, however, in the new cultural landscape, shaped by the advent of the digital revolution, it has also been involved in a politically transgressive arena of democratized home productions, sparking discussion about the imperative conditions and potential future possibilities of media creation as a whole. To make sense of these historical proceedings, and the forces which impel them, a cohesive definition of the genre is in order, which can then be used as the basis of a functional historical model. As such, the following questions are prompted: What characteristics define the audio visual essay, in what ways has it manifested throughout its history and, by extension, how does one go about formulating a conception of its history? To accommodate these queries both an essayistic mode of analysis, concerning a work’s discursive and formalistic properties, and a chronological lineage of the audio visual essay, is proposed, and applied to different historical examples, to map out paths of development and progression as well as the genres response to the varying cultural, social, political and technological forces during its lifetime.
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Choque, afetividade e experiência estética: linguagem e percepção em Um homem com uma câmera e sua pertinência contemporâneaJunqueira, Flávia Campos 06 May 2011 (has links)
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Previous issue date: 2011-05-06 / FAPEMIG - Fundação de Amparo à Pesquisa do Estado de Minas Gerais / O presente trabalho tem como objetivo geral compreender a percepção humana a partir
da potencialidade sígnica das linguagens criadas com os recursos materiais de cada período
histórico. Sob o argumento de que a evolução material pode afetar a sensorialidade humana, a
obra Um homem com uma câmera, do cineasta Dziga Vertov, é analisada a partir da visão de
autores modernos e contemporâneos escolhidos para embasarem o pensamento. Focado no
início do século XX, o trabalho é contextualizado historicamente para que a produção sígnica
dos meios possa ser acompanhada. Inspirado pela semiótica de Peirce, o estudo busca nas
perspectivas materialistas, aproximar autores que refletem de alguma maneira sobre as
tecnologias de comunicação e a percepção do homem. Apoiado no conceito de signo e nas
fases do processo semiótico – Primeiridade, Secundidade e Terceiridade – o trabalho lança
mão dos conceitos de choque, afetividade e experiência estética, a fim de entender o período
moderno, com seus movimentos culturais e o desenvolvimento urbano-industrial, como
responsável pela adaptação do homem a uma realidade esteticamente mais rica. Neste sentido,
a definição peirceana de signo serve como ponto de convergência para a articulação de
conceitos de matrizes teóricas diversas. Hoje características de linguagens vanguardistas são
exploradas pelos meios de forma corriqueira. Sob estes aspectos, a obra de Vertov é resgatada
considerando sua linguagem como representativa de uma experiência de realidade cada vez
mais baseada nos sentidos, assim como de um olhar moderno, construtor da estética explorada
cotidianamente nos meios digitais. / This study aims to understand the human perception from the semiotic potential of the
languages created with the material resources of each time. Under the argument that the
material evolution can affect the human sensibility, the work A man with a movie câmera, of
Dziga Vertov, is analyzed from the perspective of modern and contemporary authors chosen
to have grounds to the thought. Focused on the early twentieth century, the work is
historically contextualized to monitor the sign production. Guided by Peirce's semiotic, the
study seeks on material perspective, the approach of authors who, somehow, reflect upon the
technologies of communication and human perception. Based on the definition of sign and the
phases of the semiotic process, this work makes use of the concepts of shock, affectivity and
aesthetic experience in order to understand the modern time, with its cultural movements and
urban-industrial development, as the responsible for human adaptation to a reality
aesthetically richer. In this sense, the definition of Peirce’s sign serves as a focal point for the
articulation of concepts of various theoretical perspectives. Today, avant-garde features are
exploited by media in everyday. Under these aspects, the work of Vertov is rescued
considering their language as representative of an experience of reality increasingly based on
the senses, as well as a modern look, builder of the aesthetics explored everyday in digital
media.
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