Cinema reloaded: um estudo da complexidade nos processos comunicacionais do cinema no início do século XXI

• Autor(a) principal: Santos, Bernardo Queiroz de Siqueira
• Data de Publicação: 2017
• Tipo de documento: Tese
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da PUC_SP
• Texto Completo: https://tede2.pucsp.br/handle/handle/20704
• topic: Comunicação e tecnologia; Cinema - História; Cinematografia digital; Communication and technology; Cinema - History; Digital Cinematography; CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO

What are the traits that predominate in cinema on the present context of digital communication technologies? This PHD thesis proposed a study of what we define as reloaded Cinema, a denomination that refers to the transformation phenomena that affected movies in the beginning of the 21st century, based on the complexities that emerge from the highly integrated communicational processes of the media. That phenomenon is based on the interactions between the networked media environment, the potentials unlocked by the digitalization processes and the relationships with users. The Corpus of this study is composed by audio-visual projects that question and expand the limits of what is cinema, in the sense that was conceived previously. This reload of Cinema is a complex network, composed by the articulations of material, cognitive, linguistic, cultural and multimedia elements. Our method is composed by three stages 1) defining what this reloaded phenomenon is by the selection of those audio-visual projects that undermine the limits of established Cinema; 2) evaluate those projects through proceedings of localization, description and analysis; 3) Organize a synthesis of their properties and propose evaluative schema for cinematic works. Adopting the Complexity Thought proposed by Morin, we affirm that the Reloaded Cinema does not exist as an hegemonic, monolithic and isolated element, but as a communicational phenomenon inserted in culture, that emerges from between users, devices and software mediations. Under this perspective, we avoid determinisms and recognize the intrinsic paradoxes of Cinema in the digital age. Our hypothesis is that the reconfigurations (or reload) of cinema can be found on a) interactions between connected technologies of vision and it´s users through various mobile-imagedevices, like Virtual and Augmented Reality systems; b) on the emerging possibilities of creational processes generated by cinema´s connections and compatibility with Online Networks and Digitized databases, such as collaborative films and AI-oriented screenwriting; c) in mutations on construction of filmic time and space, influencing cinematographic language; d) contaminations of Cinema with other Network-Connected media, and it´s consequences on contemporary culture, where the limits between cinema and other media becomes blurry and overlapped. The results of this research are a map of the present reloaded stage of Cinema, both in the sense of audio-visual experimentation as an overview of its emerging potentials of creative processes, modes of experience and integrations with communication environments of contemporary culture