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Cristais de tempo: o cinema de Andrei TarkovskiMathias, Roberta Filgueiras 30 November 2012 (has links)
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Previous issue date: 2012-11-30 / The idea of this study is to analyze the work of Andrei Tarkovsky, a Russian
filmmaker, especially the films Stalker and Mirror as from deleuzian categories,
focusing on the perception of time presented in the books Space- Image and
Time-Image. We intend to propose a direct relationship between the concept of
crystal-image developed in Time-Image and Tarkovsky` s filmography, based
on the understanding of the images as crystals reels, which rotate around its
own axis, but beyond this rotation have a force that`s the time itself / Resumo
A ideia desse estudo é analisar a obra do cineasta russo Andrei
Tarkovski, principalmente os filmes Stalker e o Espelho a partir de categorias
deleuzianas sobre o cinema, tendo como foco a percepção de tempo
cinematográfica presente nos livros Imagem movimento e Imagem tempo.
Pretendemos propor uma relação direta entre o conceito de imagem-cristal
presente no livro Imagem-tempo e o cinema de Tarkovski, a partir da
compreensão das imagens dos filmes citados como cristais cambaleantes , que
giram através de um eixo, mas escapam dessa rotação na força que é o tempo
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Aesthetics of Ambiguity : A critical assessment of in-person reenactment and multifaceted temporality in the films of Pedro CostaHustad, Maria Charlotte January 2023 (has links)
This thesis investigates temporal dimensions of reenactment in experimental filmmaking, with a particular focus on the prominent use of this practice in the cinema of Portuguese director Pedro Costa. The research analyzes the non-professional actors’ performances in Costa’s films and broadly explores the implications of cinematic in-person reenactment, a term coined by Ivone Margulies. More specifically, the analysis sets out to challenge the predominant discourse of documentary reenactment by bringing closer attention to the intricate expression and materiality of cinematic temporality in these films, an approach that is also informed by Gilles Deleuze’s notion of the crystal-image. This concept, I argue, enriches our understanding of temporality in relation to reenactment, and ultimately also the impact Costa’s images have in providing us with a more attentive acknowledgment of the cinematic screen event. The aesthetics activated in these works exemplify what I call aesthetics of ambiguity. Contributing to the scholarly debate on reenactment within cinema studies, this work offers new perspectives on the phenomenon from the conceptual, aesthetic, and phenomenological examples of these films. The aesthetics of Costa exemplifies the temporal ambiguity that manifests itself in instances of in-person reenactments. I argue that this aesthetics challenge – and possibly also enrich - the predominant discourse of cinematic reenactment, by loosening its traditional connection to documentary filmmaking and examining it beyond categories of the real and the fictional.
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USING DELEUZE: THE CINEMA BOOKS, FILM STUDIES AND EFFECTAshton, Dyrk 27 June 2006 (has links)
No description available.
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Erdvės ir laiko konceptai Deleuze'o kino filosofijoje / Space and time concepts in Deleuze's philosophy of cinemaAkelytė, Simona 31 July 2012 (has links)
Gilles Deleuze'as kuria kinui būdingus konceptus, kurie pagilina kino problematiką, suteikdami jai filosofinį pagrindą. Savo vaizdinio-judėjimo ir vaizdinio-laiko knygose – Kinas 1 ir Kinas 2 – Deleuze'as konceptus taiko klasikiniui ir moderniajam kinui. Kino filmų jis nepasirenka kaip savo konceptų iliustracijų, o juos vertina kaip tuos pačius konceptus, išreikštus vaizdine forma. Pagrindinis šio magistrinio darbo tikslas – aptarti bet-kurios-erdvės, kuri priklauso vaizdinio-judėjimo kinui ir išreiškia netiesioginį laiką, ir vaizdo-kristalo, išreikšiantį sudėtingą tiesioginio laiko sistemą, konceptus ir tirti jų apraiškas kino mene. / Gilles Deleuze creates concepts characteristic of cinema which deepen the problematics of cinema providing a philosophical basis to it. In his books of movement-image and time-image – Cinema 1 and Cinema 2 – Deleuze applies concepts to classical and modern cinema. He doesn‘t choose movies as illustrations of his concepts but values them as the same concepts expressed in visual form. The main aim of this master thesis – to discuss the concepts of any-space-whatever, which belongs to the cinema of movement-image and expresses indirect time, as well as of crystal-image, which expresses a complex system of direct time, and to investigate their manifestations in the art of cinema.
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