Rastros do invisível no plano cinematográfico
dc.contributor.advisor | Kilpp, Suzana | |
dc.contributor.author | Weschenfelder, Ricardo | |
dc.date.accessioned | 2016-07-27T15:20:59Z | |
dc.date.accessioned | 2022-09-22T19:21:07Z | |
dc.date.available | 2016-07-27T15:20:59Z | |
dc.date.available | 2022-09-22T19:21:07Z | |
dc.date.issued | 2016-03-31 | |
dc.identifier.uri | https://hdl.handle.net/20.500.12032/59857 | |
dc.description.abstract | In this thesis I explore the tracks of the invisible in the perception and memory of film spectators. The invention of the invisible creates a tension mainly with the concepts of “track” and “dialectical image” proposed by Benjamin and of “duration” of Bergson. I dissect frames and scenes of the film. The Eclipse (1962) by Michelangelo Antonioni based on the proposal of the following concepts: absent eyes, (re-framings, blind points and rotations. Imagined as a constellation of images, these concepts are operational for tracking forms of presence of the invisible in film editing. I propose a methodology of the invisible for analyzing the corpus, understanding that upon perceiving images framed and edited by the film-maker, spectators overlap them with “invisible images” from their cultural and technical memories or repertoires, which deconstruct and transform the image seen in the present of the exhibition of the film. | en |
dc.description.sponsorship | CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior | pt_BR |
dc.language | pt_BR | pt_BR |
dc.publisher | Universidade do Vale do Rio dos Sinos | pt_BR |
dc.rights | openAccess | pt_BR |
dc.subject | Invisível | pt_BR |
dc.subject | Invisible | en |
dc.title | Rastros do invisível no plano cinematográfico | pt_BR |
dc.type | Tese | pt_BR |
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Ricardo Weschenfelder_.pdf | 8.960Mb | application/pdf | Visualizar/ |