Made available in DSpace on 2016-04-26T18:17:16Z (GMT). No. of bitstreams: 1 Marleide de Moura Rocha.pdf: 2440145 bytes, checksum: 85bedf997d624c607e001e13f0455396 (MD5) Previous issue date: 2008-06-13 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This research intends to identify and analise the sincretic processes producers of intrínsec feelings in the intertexts present in the audiovisual language of Japanese animated cartoon, also known as anime. Examining interacional, intersubjective procedures, the narrative, enunciative trajectories and specially the figurative and passional trajectories, it is intended to determine the regimes of feelings exploited, as well as the configuraton of Japanese values that travel the world within animê. This paper has its beginning with diacronicle approaching of the art of animation, followed by the Japanese animation art through its development concerning to the constitutionn of a sthetics with its own style and characterists. The Japanese pop culture has been conquering people and cultural, social and mediatic spaces. One of the manifestation of its influence is the production of the Matrix(1999) franchise. The Matrix trilogy producers took visual, sound, and temporal effects from the anime to the filmic text. These effects, then, reproduced back to the anime in the Animatrix(2003), received peculiar characteristics motivating this research. For the study case it was selected the short feature Program from the collection Animatrix; Program is seven minutes lengh and was directed by Yoshiaki Kawajiri. Animatrix is a piece of work composed by nine short features, all of them are constituted by narrative discourse linked to those of the Matrix trilogy. After studies and analises developed with the support of the concepts, theories and methodology worked by Algirdas Julien Greimas and his collaborators, it was possible to determine in Program concerning characteristics having significant procedures that allowed us to approach it not only as a programming agent, but also as a resulting instance from the programming performed by the anime. Considering as a starting point the presupposition that construction of sense is inherent to human beings, this research intends to contribute to the theoretical board of Communication and Semiotics offering subsidy as means of critical access to the sthetic appreciation of audiovisual texts through the art of Japanese animation. Our research final leadings suggest the japanese animated cartoon as an expressive form of mass communication that reflects a complex cultural context ranging in modes, themes, imagery, revealing a programming strategy for the contemporaty social being leashed to millenial tradition / Essa pesquisa visa identificar e analisar os processos sincréticos geradores de sentidos intrínsecos nos intertextos presentes na linguagem audiovisual do desenho animado japonês, também conhecido como animê. Examinando os procedimentos interacionais, intersubjetivos, os percursos narrativos, enunciativos, principalmente os figurativos e passionais pretende-se determinar os regimes de sentidos explorados, bem como, a configuração de valores japoneses que passaram a percorrer o mundo com o animê. Esse trabalho tem seu início com abordagem diacrônica da arte da animação seguida da animação japonesa em seu desenvolvimento na constituição de uma estética com estilo e características próprias. A cultura pop japonesa vem conquistando pessoas e espaços culturais, sociais e midiáticos. Uma das manifestações dessa influência é a produção da franquia Matrix(1999). Os produtores da trilogia Matrix levaram efeitos visuais, sonoros e temporais dos animês para o texto fílmico. Esses efeitos, então, reproduzidos de volta ao animê em Animatrix (2003), receberam características estéticas e estésicas peculiares motivando esta pesquisa. Para estudo de caso foi selecionado o curta-metragem Program (Um Coração de Soldado) da obra Animatrix, com sete minutos de duração, dirigido por Yoshiaki Kawajiri. Animatrix é uma obra composta por nove desenhos em curta metragem, com todos os desenhos constituídos por discursos narrativos ligados aos da trilogia Matrix. Após estudos e análises desenvolvidas com o apoio dos conceitos, teorias e metodologia trabalhados por Algirdas Julien Greimas e seus colaboradores, foi possível determinar em Program características pertinentes contendo procedimentos significantes que permitem abordá-lo tanto como um agente programador, quanto como instância resultante dessa programação realizada pelo animê. Partindo do pressuposto de que a construção de sentido é inerente aos seres humanos, esse trabalho pretende a contribuir com o quadro teórico da Comunicação e Semiótica fornecendo subsídios como meios de acesso crítico para a apreciação estética dos textos audiovisuais através da arte da animação japonesa. Os encaminhamentos finais de nossa pesquisa apontam o desenho animado japonês como uma forma expressiva de comunicação de massa que reflete um contexto cultural complexo, variando em técnicas, temas, imagens, revelando uma estratégia de programação do ser social contemporâneo calcado à uma tradição milenar

No description available.

No description available.

Cette version de la thèse a été tronquée des éléments de composition originale. Une version plus complète est disponible en ligne pour les membres de la communauté de l’Université de Montréal et peut aussi être consultée dans une des bibliothèques UdeM. / Les rapports entre le nouveau, l’ancien, l’imaginaire et le présent sont des vecteurs pour la créativité. La compréhension et le développement de projet créatif liés à des médias obsolètes, imaginaires ou futuristes, offrent à de nombreux artistes la possibilité de développer une expression personnelle ancrée dans un rapport techno-esthétique qui peut être porteur de multiples sens, que ce soit d’un point de vue social, environnemental, technologique ou formel. Ce projet de recherche est consacré à la création audiovisuelle reposant sur une pensée archéomédiatique. En premier lieu, je présente le cadre théorique et conceptuel qui a mené à la création de mes œuvres au cours de cette période doctorale. J’y relate l’exploitation d’une hybridation entre nouvelles et anciennes technologies servant à développer un langage audiovisuel puisant dans l’archéologie médiatique. Puis, dans le deuxième chapitre, j’expose l’approche compositionnelle derrière mes œuvres. Dans le troisième chapitre, j’aborde l’aspect sensoriel de mon processus de création, expliqué à travers une série de relations multimodales telles que les rapports de luminosité, de densité, de mouvements, de relief, d’espace et de textures, entre le son et l’image. Pour terminer, j’introduis la notion novatrice de texture stéréoscopique : une forme de texture optique qu’il est seulement possible de percevoir avec un média tridimensionnel. / Relationships between the new, the old, the imaginary, and present time, have always been vectors for creativity. The understanding and development behind creative projects in regard to obsolete, imaginary or futuristic media, have offered many artists ways of expressing themselves in a techno-aesthetic containing multiple meanings, whether from a social, environmental, or technological point of view. This research project is devoted to audiovisual creation based on media-archeological thinking. Firstly, the theoretical and conceptual framework that led to the creation of my works during this doctoral period are presented. I will discuss the exploitation of a hybridization between new and old technologies used to develop an audiovisual language drawing on media archaeology. The second part will present the compositional process behind my works. The third part deals with the sensory aspect of my creative process, explained through a series of cross-modal relations such as luminosity, density, movement, relief, space and texture, between sound and image. Lastly, I will introduce the novel notion of stereoscopic texture: a form of optical texture that can only be seen through a three-dimensional medium, thus finding something new in the old.