Review of animation and live-action cinema: similarities and differences
Autor(a) principal: | |
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Data de Publicação: | 2023 |
Tipo de documento: | Artigo |
Idioma: | por eng |
Título da fonte: | Diálogo com a Economia Criativa |
Texto Completo: | https://dialogo.espm.br/revistadcec-rj/article/view/470 |
Resumo: | This article aimed to present a survey on the similarities and inconsistencies between an animated work and one made in live-action. The article considered relevant questions about the characteristics of Animation and the direct photographic capture of images (in live-action), which challenge the canons of Film Studies: presenting movement as a fundamental element of Animation and not of Live-Action Cinema. Animated techniques and their differences were also analyzed, as well as the relationship between Animation and photorealistic image (according to Roland Barthes, André Bazin, and Edgar Morin), considering the sense of illusion. The studies of Edmond Couchot and Jean Baudrillard are fundamental for the analysis of Audiovisual simulation, as well as the works of Christian Metz and Jacques Aumont, for th evaluations of verisimilitude, the impression of reality and the suspension of disbelief, for these two types of images. The sense of “fiction” of the naturalistic and connotative images is also evaluated, both by Animation and Live-action Cinema, also considering the studies of Norman McLaren and Andrei Tarkovsky. In the end, the article concludes that the animated image is more untrue than the filmed image, always linked to the sense of everyday materiality. It evaluates the way of obtaining both images, the power of Animation, and the historical contradiction of the photorealistic image of what is known as 3D Animation. The text also ends with a summary of the entire analytical process through a framework of the characteristics of the animated and filmed images. |
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Review of animation and live-action cinema: similarities and differencesAvaliação sobre Animação e Cinema de vida real: semelhanças e diferençasAnimated imageFilmed imageMoving image Animated techniquesDigital imageImagem animada Imagem filmada Imagem em movimento Técnicas animadas Imagem digitalThis article aimed to present a survey on the similarities and inconsistencies between an animated work and one made in live-action. The article considered relevant questions about the characteristics of Animation and the direct photographic capture of images (in live-action), which challenge the canons of Film Studies: presenting movement as a fundamental element of Animation and not of Live-Action Cinema. Animated techniques and their differences were also analyzed, as well as the relationship between Animation and photorealistic image (according to Roland Barthes, André Bazin, and Edgar Morin), considering the sense of illusion. The studies of Edmond Couchot and Jean Baudrillard are fundamental for the analysis of Audiovisual simulation, as well as the works of Christian Metz and Jacques Aumont, for th evaluations of verisimilitude, the impression of reality and the suspension of disbelief, for these two types of images. The sense of “fiction” of the naturalistic and connotative images is also evaluated, both by Animation and Live-action Cinema, also considering the studies of Norman McLaren and Andrei Tarkovsky. In the end, the article concludes that the animated image is more untrue than the filmed image, always linked to the sense of everyday materiality. It evaluates the way of obtaining both images, the power of Animation, and the historical contradiction of the photorealistic image of what is known as 3D Animation. The text also ends with a summary of the entire analytical process through a framework of the characteristics of the animated and filmed images.O objetivo deste artigo é apresentar um levantamento sobre as similaridades e incongruências entre uma obra animada e uma realizada em live-action. No artigo, são consideradas questões relevantes sobre as características da animação e da captura fotográfica direta das imagens (no live-action) que contestam os cânones dos Film Studies: o movimento como elemento fundamental da Animação, e não do Cinema Live-Action. Também são analisadas as técnicas animadas e suas diferenças, a relação da animação com a imagem fotorrealista (segundo Roland Barthes, André Bazin e Edgar Morin), considerando o sentido de ilusão. Os estudos de Edmond Couchot e Jean Baudrillard são basilares para as análises sobre a simulação no Audiovisual, assim como os trabalhos de Christian Metz e Jacques Aumont para as avaliações sobre a verossimilhança, a impressão da realidade e a suspensão da descrença, para esses dois tipos de imagens. Ainda são avaliados o sentido de “ficção” das imagens naturalista e conotativa, tanto pela Animação como pelo Cinema Live-Action, observando também os estudos de Norman McLaren e Andrei Tarkovski. Ao final, o artigo conclui que a imagem animada é mais falsa do que a imagem filmada, sempre ligada ao sentido da materialidade cotidiana. Avaliando a forma de se obter uma e outra imagem, a potência da Animação e a contradição histórica da imagem fotorrealista ligada à conhecida como Animação 3D. O texto também finaliza com um resumo de todo o processo analítico, por meio de um enquadramento das características das imagens animadas e filmadas.Escola Superior de Propaganda e Marketing2023-12-22info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfapplication/pdfhttps://dialogo.espm.br/revistadcec-rj/article/view/47010.22398/2525-2828.82450-63Journal Dialogue with Creative Economy; Vol. 8 No. 24 (2023): Dossier SEANIMA#3 ; 50-63Diálogo com a Economia Criativa; v. 8 n. 24 (2023): Dossiê SEANIMA#3; 50-632525-2828reponame:Diálogo com a Economia Criativainstname:Escola Superior de Propaganda e Marketing (ESPM)instacron:ESPMporenghttps://dialogo.espm.br/revistadcec-rj/article/view/470/400https://dialogo.espm.br/revistadcec-rj/article/view/470/401Copyright (c) 2023 Eliane M. Gordeeffhttp://creativecommons.org/licenses/by-nc-nd/4.0info:eu-repo/semantics/openAccessGordeeff, Eliane M.2023-12-22T16:08:28Zoai:ojs.dialogo.espm.br:article/470Revistahttps://dialogo.espm.br/revistadcec-rj/ONGhttps://dialogo.espm.br/revistadcec-rj/oai||revistadcec-rj@espm.br2525-28282525-2828opendoar:2023-12-22T16:08:28Diálogo com a Economia Criativa - Escola Superior de Propaganda e Marketing (ESPM)false |
dc.title.none.fl_str_mv |
Review of animation and live-action cinema: similarities and differences Avaliação sobre Animação e Cinema de vida real: semelhanças e diferenças |
title |
Review of animation and live-action cinema: similarities and differences |
spellingShingle |
Review of animation and live-action cinema: similarities and differences Gordeeff, Eliane M. Animated image Filmed image Moving image Animated techniques Digital image Imagem animada Imagem filmada Imagem em movimento Técnicas animadas Imagem digital |
title_short |
Review of animation and live-action cinema: similarities and differences |
title_full |
Review of animation and live-action cinema: similarities and differences |
title_fullStr |
Review of animation and live-action cinema: similarities and differences |
title_full_unstemmed |
Review of animation and live-action cinema: similarities and differences |
title_sort |
Review of animation and live-action cinema: similarities and differences |
author |
Gordeeff, Eliane M. |
author_facet |
Gordeeff, Eliane M. |
author_role |
author |
dc.contributor.author.fl_str_mv |
Gordeeff, Eliane M. |
dc.subject.por.fl_str_mv |
Animated image Filmed image Moving image Animated techniques Digital image Imagem animada Imagem filmada Imagem em movimento Técnicas animadas Imagem digital |
topic |
Animated image Filmed image Moving image Animated techniques Digital image Imagem animada Imagem filmada Imagem em movimento Técnicas animadas Imagem digital |
description |
This article aimed to present a survey on the similarities and inconsistencies between an animated work and one made in live-action. The article considered relevant questions about the characteristics of Animation and the direct photographic capture of images (in live-action), which challenge the canons of Film Studies: presenting movement as a fundamental element of Animation and not of Live-Action Cinema. Animated techniques and their differences were also analyzed, as well as the relationship between Animation and photorealistic image (according to Roland Barthes, André Bazin, and Edgar Morin), considering the sense of illusion. The studies of Edmond Couchot and Jean Baudrillard are fundamental for the analysis of Audiovisual simulation, as well as the works of Christian Metz and Jacques Aumont, for th evaluations of verisimilitude, the impression of reality and the suspension of disbelief, for these two types of images. The sense of “fiction” of the naturalistic and connotative images is also evaluated, both by Animation and Live-action Cinema, also considering the studies of Norman McLaren and Andrei Tarkovsky. In the end, the article concludes that the animated image is more untrue than the filmed image, always linked to the sense of everyday materiality. It evaluates the way of obtaining both images, the power of Animation, and the historical contradiction of the photorealistic image of what is known as 3D Animation. The text also ends with a summary of the entire analytical process through a framework of the characteristics of the animated and filmed images. |
publishDate |
2023 |
dc.date.none.fl_str_mv |
2023-12-22 |
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://dialogo.espm.br/revistadcec-rj/article/view/470 10.22398/2525-2828.82450-63 |
url |
https://dialogo.espm.br/revistadcec-rj/article/view/470 |
identifier_str_mv |
10.22398/2525-2828.82450-63 |
dc.language.iso.fl_str_mv |
por eng |
language |
por eng |
dc.relation.none.fl_str_mv |
https://dialogo.espm.br/revistadcec-rj/article/view/470/400 https://dialogo.espm.br/revistadcec-rj/article/view/470/401 |
dc.rights.driver.fl_str_mv |
Copyright (c) 2023 Eliane M. Gordeeff http://creativecommons.org/licenses/by-nc-nd/4.0 info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2023 Eliane M. Gordeeff http://creativecommons.org/licenses/by-nc-nd/4.0 |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf application/pdf |
dc.publisher.none.fl_str_mv |
Escola Superior de Propaganda e Marketing |
publisher.none.fl_str_mv |
Escola Superior de Propaganda e Marketing |
dc.source.none.fl_str_mv |
Journal Dialogue with Creative Economy; Vol. 8 No. 24 (2023): Dossier SEANIMA#3 ; 50-63 Diálogo com a Economia Criativa; v. 8 n. 24 (2023): Dossiê SEANIMA#3; 50-63 2525-2828 reponame:Diálogo com a Economia Criativa instname:Escola Superior de Propaganda e Marketing (ESPM) instacron:ESPM |
instname_str |
Escola Superior de Propaganda e Marketing (ESPM) |
instacron_str |
ESPM |
institution |
ESPM |
reponame_str |
Diálogo com a Economia Criativa |
collection |
Diálogo com a Economia Criativa |
repository.name.fl_str_mv |
Diálogo com a Economia Criativa - Escola Superior de Propaganda e Marketing (ESPM) |
repository.mail.fl_str_mv |
||revistadcec-rj@espm.br |
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1797231688779038720 |