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Chris Cunningham: corpo e dejeto no vídeo contemporâneoAndrade, Sueli Chaves 17 February 2017 (has links)
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Previous issue date: 2017-02-17 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / Chris Cunningham is the main subject in this thesis. Cunningham was one of the most
influential and creative music video directors in the 90’s and early 2000’s. Visible throughout
his art is the theme of the body and its innards - an important and wide discussion in
contemporary culture studies. The hypothesis of this text is that the music video is one of the
main audiovisual narratives of postmodern culture from the aspect of new aesthetics and
artistic experiments. Cunningham adds original marks to the characteristics that constitute
contemporary art, especially the one that has placed the body under interrogation and also the
art object as waste. The contemporary art discussion in this thesis is inspired by psychanalysts
Jacques-Allan Miller and Gerard Wajcman and the positioning of the object, and a new gaze
at it is provided by Didi-Huberman. Concerning the role of the body in this setting, Santaella
brings a contribution on it as an art support, besides presenting much of the specific problems
of the body in culture. Raymond Bellour, Philippe Dubois and Arlindo Machado with their
discussions around film and video allow the insertion of the music video as a language with
its own characteristics and history, as the theorists Andrew Goodwin, E. Ann Kaplan and
Carol Vernallis point out. The Lacanian theory provides a formal way to analyze and discuss
the body from an instinctive perspective that drives the subject in the contemporary world. In
order to prove this assertion and the hypothesis of this thesis, three semiotic-psychoanalytic
analyses were done on the following works: All is Full of Love (1999), Flex (2000) and
Rubber Johnny (2005) / Chris Cunningham é o objeto de investigação desta tese. Trata-se de um autor reconhecido de videoclipes e narrativas audiovisuais contemporâneas das décadas de 1990 e 2000. Seus trabalhos são permeados por uma temática de suma importância e ampla discussão no campo de estudos da cultura contemporânea: o tema do corpo e suas estranhezas. A hipótese que se coloca é a de que o videoclipe é um dos principais formatos narrativos audiovisuais do pós-moderno, sob o aspecto da produção de novas estéticas e experimentações artísticas. Tendo isso em vista, a obra de Cunningham acrescenta marcas originais às características próprias da arte contemporânea, especialmente aquela que vem colocando o corpo sob interrogação e o objeto enquanto dejeto. No que diz respeito aos debates que envolvem a arte contemporânea, há uma escuta daquilo que os psicanalistas Jacques-Allan Miller e Gerard Wajcman têm a dizer sobre o lugar do objeto, bem como sobre uma nova forma de olhá-lo, tal qual propõe Didi-Huberman. A respeito do papel do corpo neste mesmo cenário, Santaella traz uma contribuição sobre o mesmo como suporte da arte, além de apresentar as problemáticas específicas do corpo na cultura. Raymond Bellour, Philippe Dubois e Arlindo Machado aprofundam a discussão sobre cinema e vídeo, o que permite a inserção do videoclipe como uma linguagem com características e história próprias, conforme apontam os teóricos Andrew Goodwin, E. Ann Kaplan e Carol Vernallis. Toma-se, então, a perspectiva psicanalítica de orientação lacaniana para observar o corpo para além de sua função como suporte na arte: o das pulsões que tomam conta do sujeito no universo contemporâneo. De modo a comprovar tal afirmação e a hipótese desta tese, três análises de cunho semiótico-psicanalítico abordam os trabalhos: All is Full of Love (1999), Flex (2000) e Rubber Johnny (2005)
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Chris Cunningham: autoria em videoclipeAndrade, Sueli Chaves 26 October 2009 (has links)
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Previous issue date: 2009-10-26 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The work from the video artist Chris Cunningham is the main theme of this research. The several audiovisual productions of this director include video installations, advertising and mainly music videos. There are two reasons for the choice of this object. The first one is related to the contemporary themes of Cunningham´s projects such as cyborg and freak bodies in the context of the post-human issue. The second reason is the possibility of placing the British as author in the audiovisual field. The music videos All Is Full Of Love (1999) and Rubber Johnny (2005) are the selected works for analysis of this research. The theoretical references over which this investigation is supported are related to the issues of authorship, post-cinema images and post-human body. Around the authorship discussion this research can be placed on debates proposed by the traditional French journal Cahiers du Cinéma during 1950s and the machine-artist relationship proposed by Vilém Flusser in Towards a Philosophy of Photography. To discuss the music video the selected authors are Arlindo Machado, E. Ann Kaplan and the pop culture experts Andrew Goodwin and Simon Fritch. Besides there are also the theorists Raymond Bellour (1997) who provides a place to the video and Philippe Dubois (2004) who suggests to think of it as a state and not as a product since it´s intimately tied to the device for which it has been designed. The approach to the body theme is based on works from Lucia Santaella, Paula Sibilia and Ieda Tucherman / O trabalho do videomaker Chris Cunningham é o tema principal dessa dissertação. A variedade de produções audiovisuais desse diretor engloba videoinstalações, publicidade e principalmente videoclipes. A escolha desse objeto dá-se por duas razões. A primeira pela contemporaneidade dos temas abordados nos projetos de Cunningham, como a temática dos corpos ciborgue e freak no contexto de discussão do pós-humano. Já a segunda razão é a possibilidade de situar o britânico como autor no campo audiovisual. Os videoclipes All Is Full Of Love (1999) e Rubber Johnny (2005) são as obras selecionadas para estudo analítico nesta pesquisa. As referências teóricas que embasam este trabalho estão ligadas ao tema da autoria, das imagens pós-cinemas e corpo pós-humano. No campo da discussão acerca de autoria, o trabalho situa-se nos debates propostos pelo tradicional periódico francês Cahiers du Cinema na década de 1950 e relação artista-máquina proposta por Vilém Flusser em Filosofia da Caixa Preta. Para se dissertar sobre o videoclipe, os autores selecionados são Arlindo Machado, E. Ann Kaplan e a dupla especialista em cultura pop Andrew Goodwin e Simon Fritch, além do teórico Raymond Bellour (1997), que dá lugar ao vídeo, e Philippe Dubois (2004) que sugere pensá-lo como estado e não como produto, na medida em que está intimamente atrelado ao dispositivo para o qual foi concebido. A abordagem do tema corpo respalda-se em textos das autoras Lúcia Santaella, Paula Sibilia e Ieda Tucherman
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Music video auteurs : the directors label DVDs and the music videos of Chris Cunningham, Michel Gondry and Spike JonzeFidler, Tristan January 2007 (has links)
Music video is an intriguing genre of television due to the fact that music drives the images and ideas found in numerous and varied examples of the form. Pre-recorded pieces of pop music are visually written upon in a palimpsest manner, resulting in an immediate and entertaining synchronisation of sound and vision. Ever since the popularity of MTV in the early 1980s, music video has been a persistent fixture in academic discussion, most notably in the work of writers like E. Ann Kaplan, Simon Frith and Andrew Goodwin. What has been of major interest to such cultural scholars is the fact that music video was designed as a promotional tool in their inception, supporting album sales and increasing the stardom of the featured recording artists. Authorship in music video studies has been traditionally kept to the representation of music stars, how they incorporate post-modern references and touch upon wider cultural themes (the Marilyn Monroe pastiche for the Madonna video, Material Girl (1985) for instance). What has not been greatly discussed is the contribution of music video directors, and the reason for that is the target audience for music videos are teenagers, who respond more to the presence of the singer or the band than the unknown figure of the director, a view that is also adhered to by music television channels like MTV.
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