Review of animation and live-action cinema: similarities and differences

Detalhes bibliográficos
Autor(a) principal: Gordeeff, Eliane M.
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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spelling 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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