The spectator’s time: the aesthetic appreciation of moving images inside the museum
| Autor(a) principal: | |
|---|---|
| Data de Publicação: | 2018 |
| Outros Autores: | |
| Tipo de documento: | Artigo |
| Idioma: | por |
| Título da fonte: | Galáxia (São Paulo) |
| Texto Completo: | https://revistas.pucsp.br/index.php/galaxia/article/view/30769 |
Resumo: | The paper proposes to reflect about the spectator’s relationship with the works that use the moving image in the museum space and how this relationship generates new ways of fruition, highlighting the time available for the appreciation of the works. It intends to analyze the relationship between the time of the work and the spectator’s time on long temporality films, as in the case of installations such as Marclay’s The Clock (2007) and Blaufuk’s Theresienstadt (2007), using concepts like expanded cinema (PARENTE, 2006) and pensive spectator (BELLOUR, 1987). Furthermore, it regards the theoretical framework that deals with slow film and the emancipation of the spectator that presents itself as responsible for making the art productive. |
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PUC_SP-8 |
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Galáxia (São Paulo) |
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The spectator’s time: the aesthetic appreciation of moving images inside the museumO tempo do espectador: A fruição da imagem em movimento no espaço do museucinema expandidoespectadorespaço musealestética da recepção.expanded cinemaspectatormuseal spacereception aesthetics.The paper proposes to reflect about the spectator’s relationship with the works that use the moving image in the museum space and how this relationship generates new ways of fruition, highlighting the time available for the appreciation of the works. It intends to analyze the relationship between the time of the work and the spectator’s time on long temporality films, as in the case of installations such as Marclay’s The Clock (2007) and Blaufuk’s Theresienstadt (2007), using concepts like expanded cinema (PARENTE, 2006) and pensive spectator (BELLOUR, 1987). Furthermore, it regards the theoretical framework that deals with slow film and the emancipation of the spectator that presents itself as responsible for making the art productive. O artigo dispõe-se a refletir sobre a relação do espectador junto às obras que utilizam a imagem em movimento no espaço do museu e como tal relação gera novos modos de fruição, ressaltando a disponibilidade de tempo dedicado à apreciação das obras. Trata-se de analisar a relação entre o tempo da obra e o tempo do espectador diante de lmes de longa temporalidade, como é o caso das instalações The Clock (2010), de Marclay, e Theresienstadt (2007), de Blaufuks, a partir de conceitos como cinema expandido (PARENTE, 2006) e espectador pensativo (BELLOUR, 1987). Ademais, tem-se em conta o aporte teórico que trata do cinema lento e da emancipação do espectador que se apresenta como responsável por tornar a arte produtiva.PEPG COS-PUC-SP2018-04-06info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://revistas.pucsp.br/index.php/galaxia/article/view/30769Galaxia; No. 37 (2018)GALÁxIA. Revista Interdisciplinar de Comunicação e Cultura; n. 37 (2018)1982-2553reponame:Galáxia (São Paulo)instname:Pontifícia Universidade Católica de São Paulo (PUC-SP)instacron:PUC_SPporhttps://revistas.pucsp.br/index.php/galaxia/article/view/30769/25254Copyright (c) 2018 Galáxia. Revista do Programa de Pós-Graduação em Comunicação e Semiótica. ISSN 1982-2553info:eu-repo/semantics/openAccessTerraza, Cristiane HerresTravassos, Lorena2018-04-16T19:36:17Zoai:ojs.pkp.sfu.ca:article/30769Revistahttps://www.pucsp.br/pos-graduacao/mestrado-e-doutorado/comunicacao-e-semioticaPRIhttps://old.scielo.br/oai/scielo-oai.phpcos@pucsp.br||aidarprado@gmail.com1982-25531519-311Xopendoar:2018-04-16T19:36:17Galáxia (São Paulo) - Pontifícia Universidade Católica de São Paulo (PUC-SP)false |
| dc.title.none.fl_str_mv |
The spectator’s time: the aesthetic appreciation of moving images inside the museum O tempo do espectador: A fruição da imagem em movimento no espaço do museu |
| title |
The spectator’s time: the aesthetic appreciation of moving images inside the museum |
| spellingShingle |
The spectator’s time: the aesthetic appreciation of moving images inside the museum Terraza, Cristiane Herres cinema expandido espectador espaço museal estética da recepção. expanded cinema spectator museal space reception aesthetics. |
| title_short |
The spectator’s time: the aesthetic appreciation of moving images inside the museum |
| title_full |
The spectator’s time: the aesthetic appreciation of moving images inside the museum |
| title_fullStr |
The spectator’s time: the aesthetic appreciation of moving images inside the museum |
| title_full_unstemmed |
The spectator’s time: the aesthetic appreciation of moving images inside the museum |
| title_sort |
The spectator’s time: the aesthetic appreciation of moving images inside the museum |
| author |
Terraza, Cristiane Herres |
| author_facet |
Terraza, Cristiane Herres Travassos, Lorena |
| author_role |
author |
| author2 |
Travassos, Lorena |
| author2_role |
author |
| dc.contributor.author.fl_str_mv |
Terraza, Cristiane Herres Travassos, Lorena |
| dc.subject.por.fl_str_mv |
cinema expandido espectador espaço museal estética da recepção. expanded cinema spectator museal space reception aesthetics. |
| topic |
cinema expandido espectador espaço museal estética da recepção. expanded cinema spectator museal space reception aesthetics. |
| description |
The paper proposes to reflect about the spectator’s relationship with the works that use the moving image in the museum space and how this relationship generates new ways of fruition, highlighting the time available for the appreciation of the works. It intends to analyze the relationship between the time of the work and the spectator’s time on long temporality films, as in the case of installations such as Marclay’s The Clock (2007) and Blaufuk’s Theresienstadt (2007), using concepts like expanded cinema (PARENTE, 2006) and pensive spectator (BELLOUR, 1987). Furthermore, it regards the theoretical framework that deals with slow film and the emancipation of the spectator that presents itself as responsible for making the art productive. |
| publishDate |
2018 |
| dc.date.none.fl_str_mv |
2018-04-06 |
| 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://revistas.pucsp.br/index.php/galaxia/article/view/30769 |
| url |
https://revistas.pucsp.br/index.php/galaxia/article/view/30769 |
| dc.language.iso.fl_str_mv |
por |
| language |
por |
| dc.relation.none.fl_str_mv |
https://revistas.pucsp.br/index.php/galaxia/article/view/30769/25254 |
| 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 |
PEPG COS-PUC-SP |
| publisher.none.fl_str_mv |
PEPG COS-PUC-SP |
| dc.source.none.fl_str_mv |
Galaxia; No. 37 (2018) GALÁxIA. Revista Interdisciplinar de Comunicação e Cultura; n. 37 (2018) 1982-2553 reponame:Galáxia (São Paulo) instname:Pontifícia Universidade Católica de São Paulo (PUC-SP) instacron:PUC_SP |
| instname_str |
Pontifícia Universidade Católica de São Paulo (PUC-SP) |
| instacron_str |
PUC_SP |
| institution |
PUC_SP |
| reponame_str |
Galáxia (São Paulo) |
| collection |
Galáxia (São Paulo) |
| repository.name.fl_str_mv |
Galáxia (São Paulo) - Pontifícia Universidade Católica de São Paulo (PUC-SP) |
| repository.mail.fl_str_mv |
cos@pucsp.br||aidarprado@gmail.com |
| _version_ |
1799129330959253504 |