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dc.contributor.advisorLadeira, João Damasceno Martins
dc.contributor.authorPereira, Simone de Novaes Costa
dc.date.accessioned2017-05-09T13:27:47Z
dc.date.accessioned2022-09-22T19:25:01Z
dc.date.available2017-05-09T13:27:47Z
dc.date.available2022-09-22T19:25:01Z
dc.date.issued2017-03-21
dc.identifier.urihttps://hdl.handle.net/20.500.12032/60626
dc.description.abstractThe present dissertation aims to know the way of being of the drawn animation through the understanding and observation of the Disney’s fundamental principles of the cinematographic animation. The intuitive method, practiced by Henri Bergson, constitutes the main foundation of this work, in the sense of promoting a study whose purpose is to understand the ways of being and acting of the object, taking into account its two tendencies, virtual and current. The set of twelve fundamental principles is studied from a technocultural approach, whose focus lies in the attempt to learn how techniques and sensibilities transform each other. Deleuze's concept of image-movement is fundamental in the research, since the principles are considered taking into account a relative dimension, referring to the formalities of the operations in the cinema, and an absolute dimension, in which the regimes of the image-movement manifest themselves. The observation of the absolute dimension is based on the cartography of the principles, according to the elaboration of two constellations - Masks and Mechanics - in scenes of four animated feature films, namely: Snow White and the Seven Dwarfs (USA, 1937 ), Toy Story (USA, 1995), Spirited Away (Japan, 2001) and Boy and the World (Brazil, 2013).en
dc.description.sponsorshipNenhumapt_BR
dc.languagept_BRpt_BR
dc.publisherUniversidade do Vale do Rio dos Sinospt_BR
dc.rightsopenAccesspt_BR
dc.subjectPrincípios fundamentaispt_BR
dc.subjectDisneyen
dc.titleMáscaras e mecanicismos: um estudo sobre os princípios da animação cinematográfica do desenhopt_BR
dc.typeDissertaçãopt_BR


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