The Perfidy of Matter: Notes on the Animation of the Inorganic
Autor(a) principal: | |
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Data de Publicação: | 2016 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | E-Compós |
Texto Completo: | https://www.e-compos.org.br/e-compos/article/view/1328 |
Resumo: | would it be possible to speak of a tradition that expresses the “animation of the inorganic” in experimental film and in the intercessions between cinema and art? In other words, would there be, in cinema’s history, enough examples for the vivification of inanimate objects (which sometimes even become the focal point of the camera’s gaze), so that we could therein identify an expressive aspect of modern aesthetics? Through some brief analyses of cinematographic examples, but also of elements from the fine arts and literature –, this paper puts forward the hypothesis of a progressive decline of the traditional anthropocentric point of view and of the model of the liberal humanist subjectivity from the turn of the XIX century on. This decline will be exemplarily represented in cinema and the arts through the ever more decisive protagonism of objects. |
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The Perfidy of Matter: Notes on the Animation of the InorganicA astúcia da matéria: notas sobre a animação do inorgânicoobjetoscinema experimentalbarrocoWalter BenjaminJan Svankmajerwould it be possible to speak of a tradition that expresses the “animation of the inorganic” in experimental film and in the intercessions between cinema and art? In other words, would there be, in cinema’s history, enough examples for the vivification of inanimate objects (which sometimes even become the focal point of the camera’s gaze), so that we could therein identify an expressive aspect of modern aesthetics? Through some brief analyses of cinematographic examples, but also of elements from the fine arts and literature –, this paper puts forward the hypothesis of a progressive decline of the traditional anthropocentric point of view and of the model of the liberal humanist subjectivity from the turn of the XIX century on. This decline will be exemplarily represented in cinema and the arts through the ever more decisive protagonism of objects.seria possível falar em uma tradição de “animação do inorgânico” no cinema experimental e nas intercessões entre cinema e arte? Em outras palavras, existiriam, na história do cinema, exemplos suficientes de vivificação de objetos inanimados – que muitas vezes se tornam mesmo o foco decisivo do olhar da câmera – de modo a podermos ali identificar um dado expressivo das estéticas modernas? Através da breve análise de alguns exemplos cinematográficos – mas também da esfera das artes plásticas e da literatura –, pretende-se operar com a hipótese de um progressivo declínio do tradicional ponto de vista antropocêntrico e do modelo de subjetividade humanista liberal a partir de pelo menos fins do século XIX. Declínio que as artes e o cinema irão representar exemplarmente por meio do protagonismo cada vez mais decisivo dos objetos.ABEC2016-12-28info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://www.e-compos.org.br/e-compos/article/view/132810.30962/ec.1328E-Compós; Vol. 19 No. 3 (2016)E-Compós; Vol. 19 Núm. 3 (2016)E-Compós; v. 19 n. 3 (2016)1808-2599reponame:E-Compósinstname:Associação Nacional dos Programas de Pós-Graduação em Comunicaçãoinstacron:ANPPCporhttps://www.e-compos.org.br/e-compos/article/view/1328/904Oliveira, Erick Felinto deinfo:eu-repo/semantics/openAccess2021-06-11T12:16:06Zoai:ojs.www.e-compos.org.br:article/1328Revistahttps://www.e-compos.org.br/e-compos/PUBhttps://www.e-compos.org.br/e-compos/oairevistaecompos@gmail.com1808-25991808-2599opendoar:2021-06-11T12:16:06E-Compós - Associação Nacional dos Programas de Pós-Graduação em Comunicaçãofalse |
dc.title.none.fl_str_mv |
The Perfidy of Matter: Notes on the Animation of the Inorganic A astúcia da matéria: notas sobre a animação do inorgânico |
title |
The Perfidy of Matter: Notes on the Animation of the Inorganic |
spellingShingle |
The Perfidy of Matter: Notes on the Animation of the Inorganic Oliveira, Erick Felinto de objetos cinema experimental barroco Walter Benjamin Jan Svankmajer |
title_short |
The Perfidy of Matter: Notes on the Animation of the Inorganic |
title_full |
The Perfidy of Matter: Notes on the Animation of the Inorganic |
title_fullStr |
The Perfidy of Matter: Notes on the Animation of the Inorganic |
title_full_unstemmed |
The Perfidy of Matter: Notes on the Animation of the Inorganic |
title_sort |
The Perfidy of Matter: Notes on the Animation of the Inorganic |
author |
Oliveira, Erick Felinto de |
author_facet |
Oliveira, Erick Felinto de |
author_role |
author |
dc.contributor.author.fl_str_mv |
Oliveira, Erick Felinto de |
dc.subject.por.fl_str_mv |
objetos cinema experimental barroco Walter Benjamin Jan Svankmajer |
topic |
objetos cinema experimental barroco Walter Benjamin Jan Svankmajer |
description |
would it be possible to speak of a tradition that expresses the “animation of the inorganic” in experimental film and in the intercessions between cinema and art? In other words, would there be, in cinema’s history, enough examples for the vivification of inanimate objects (which sometimes even become the focal point of the camera’s gaze), so that we could therein identify an expressive aspect of modern aesthetics? Through some brief analyses of cinematographic examples, but also of elements from the fine arts and literature –, this paper puts forward the hypothesis of a progressive decline of the traditional anthropocentric point of view and of the model of the liberal humanist subjectivity from the turn of the XIX century on. This decline will be exemplarily represented in cinema and the arts through the ever more decisive protagonism of objects. |
publishDate |
2016 |
dc.date.none.fl_str_mv |
2016-12-28 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://www.e-compos.org.br/e-compos/article/view/1328 10.30962/ec.1328 |
url |
https://www.e-compos.org.br/e-compos/article/view/1328 |
identifier_str_mv |
10.30962/ec.1328 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://www.e-compos.org.br/e-compos/article/view/1328/904 |
dc.rights.driver.fl_str_mv |
info:eu-repo/semantics/openAccess |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
ABEC |
publisher.none.fl_str_mv |
ABEC |
dc.source.none.fl_str_mv |
E-Compós; Vol. 19 No. 3 (2016) E-Compós; Vol. 19 Núm. 3 (2016) E-Compós; v. 19 n. 3 (2016) 1808-2599 reponame:E-Compós instname:Associação Nacional dos Programas de Pós-Graduação em Comunicação instacron:ANPPC |
instname_str |
Associação Nacional dos Programas de Pós-Graduação em Comunicação |
instacron_str |
ANPPC |
institution |
ANPPC |
reponame_str |
E-Compós |
collection |
E-Compós |
repository.name.fl_str_mv |
E-Compós - Associação Nacional dos Programas de Pós-Graduação em Comunicação |
repository.mail.fl_str_mv |
revistaecompos@gmail.com |
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1798045734218498048 |