VASCONCELOS, Diego Hoefel. Entre retratos e paisagens: ensaio sobre rosto no cinema. 2013. 126f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Comunicação Social, Fortaleza (CE), 2013. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-09-30T16:28:45Z No. of bitstreams: 1 2013_dis_dhvasconcelos.pdf: 2475444 bytes, checksum: c861f7e2e5b465bd6ee3bac86f744de1 (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2014-10-01T11:42:14Z (GMT) No. of bitstreams: 1 2013_dis_dhvasconcelos.pdf: 2475444 bytes, checksum: c861f7e2e5b465bd6ee3bac86f744de1 (MD5) / Made available in DSpace on 2014-10-01T11:42:14Z (GMT). No. of bitstreams: 1 2013_dis_dhvasconcelos.pdf: 2475444 bytes, checksum: c861f7e2e5b465bd6ee3bac86f744de1 (MD5) Previous issue date: 2013 / The research is divided into three parts. The first is a study of the face and its relationship with the portrait, from classical definitions and approaches between the two concepts in art history. The second part of the dissertation deals with the face in film and concatenates the analysis of a few filmic propositions with different theoretical approaches as a way to reflect on the face in silent, classic and modern films. The vectorized face of classic cinema, treated as the main space of identification with the characters, operates differently from the deep face of modern cinema, which reveals internal movements, anxieties, nauseas. Both are, in the third part of the dissertation, confronted with the contemporary face. Space in which intensities and affects emerge, the face that appears in a certain recent film production is closer to the landscape than to the portrait. / A pesquisa é dividida em três partes. A primeira consiste em um estudo sobre a relação entre rosto e retrato, proposto com base em definições clássicas e aproximações entre os dois conceitos na história da arte. A segunda parte da dissertação aborda o rosto no cinema e encadeia a análise de algumas proposições fílmicas com distintas abordagens teóricas para discutir o primeiro plano nos cinemas mudo, clássico e moderno. O rosto vetorizado do cinema clássico, tratado como espaço principal de identificação com o personagem, opera de forma distinta do rosto profundo do cinema moderno, nos quais se revelam movimentos internos, angústias, náuseas. Ambos são, na terceira parte da dissertação, confrontados com o rosto contemporâneo. Espaço de intensidades e afetos, o rosto que surge em uma determinada produção cinematográfica recente aproxima-se mais da paisagem do que do retrato.

Thesis (Ph. D.)--University of Virginia, 2003. / Typescript. Includes bibliographical references (leaves 456-472). Also available online through Digital Dissertations.

nÃo hà / The research is divided into three parts. The first is a study of the face and its relationship with the portrait, from classical definitions and approaches between the two concepts in art history. The second part of the dissertation deals with the face in film and concatenates the analysis of a few filmic propositions with different theoretical approaches as a way to reflect on the face in silent, classic and modern films. The vectorized face of classic cinema, treated as the main space of identification with the characters, operates differently from the deep face of modern cinema, which reveals internal movements, anxieties, nauseas. Both are, in the third part of the dissertation, confronted with the contemporary face. Space in which intensities and affects emerge, the face that appears in a certain recent film production is closer to the landscape than to the portrait. / A pesquisa à dividida em trÃs partes. A primeira consiste em um estudo sobre a relaÃÃo entre rosto e retrato, proposto com base em definiÃÃes clÃssicas e aproximaÃÃes entre os dois conceitos na histÃria da arte. A segunda parte da dissertaÃÃo aborda o rosto no cinema e encadeia a anÃlise de algumas proposiÃÃes fÃlmicas com distintas abordagens teÃricas para discutir o primeiro plano nos cinemas mudo, clÃssico e moderno. O rosto vetorizado do cinema clÃssico, tratado como espaÃo principal de identificaÃÃo com o personagem, opera de forma distinta do rosto profundo do cinema moderno, nos quais se revelam movimentos internos, angÃstias, nÃuseas. Ambos sÃo, na terceira parte da dissertaÃÃo, confrontados com o rosto contemporÃneo. EspaÃo de intensidades e afetos, o rosto que surge em uma determinada produÃÃo cinematogrÃfica recente aproxima-se mais da paisagem do que do retrato.

The basis of F.A.CE project.lon was the competition for an future Academy within the spirit of the former Bauhaus Dessau. The competition provided the opportunity to introduce my thoughts for an educational establishment in art, architecture and design. The Essence of F.A.CE project.Ion was to extend the myth of the former Bauhaus utopians. Several artists were active either together or in succession and made valueable contributions to the Bauhaus through their own work. Their names and faces are form together the multifaced image that refers silently as a memory to a former Bauhaus idea. The Identity of the Bauhaus seemed to live as much in the hidden cracks on the facades of a celebrated architecture as in the portraits of the former Bauhaus faces. Through juxtaposing the faces with the Bauhaus Idea I created an dialogue that moved toward a 'corporate identity - Mies v. d. Rohe' and found its ownF.A.CE - F.uture A.rts CE.ntre .Finally, F.A.CE project.Ion led toward a specific spirit ofplastic elements embodying facial aswell as spatial forces with an important contribution to a visual re-education. / Department of Architecture