The cinemas deterritorializing potential and its philosophical contagion

Detalhes bibliográficos
Autor(a) principal: Garces Velasco, Ricardo
Data de Publicação: 2019
Tipo de documento: Dissertação
Idioma: eng
Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
Texto Completo: http://hdl.handle.net/10362/77689
Resumo: Guillermo del Toro’s most recent film The Shape of Water (2017) ends with a sequence presenting the leading role’s peculiar transformation that not only saves her life but allows her to breathe underneath the water and to be with the amphibious manlike creature she loves. By showing the exact instant where the character’s ancient neck scars open into gills with a thought-provoking low angle medium close-up in a floating environment, the film denotes a resonance between physical metamorphosis and a change of perspective. In addition, the sequence’s final scene is an extreme long shot of the story’s two main characters merged in a hug and surrounded by an aquatic empty landscape. Thus suggesting that the shift process’s culmination is not merely a matter of altered body parts but also of changing contexts, environments and ways to be, perceive and understand reality. However, this example is not the only one of how motion pictures have been approaching and displaying different transformation processes and their multiple implications. Almost a decade before The Shape of Water, the anime feature films Studio Ghibli released Hayao Miyazaki’s Ponyo on the Cliff by the Sea (2008). The story of a red goldfish princess who wishes to become a human after knowing a five-year-old boy. The film focuses on Ponyo’s becoming-human journey, showing how it develops alongside with her motivations and the ramifications of such a desire. The moment where Ponyo’s will of change provides her with legs and hands, disrupting her restraining water-bubble borders and altering nature’s balance, establishes a key progression to analyze and experience the complex shifting relationship between a subject and its milieu.
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spelling The cinemas deterritorializing potential and its philosophical contagionCinemaDesterritorializaçãoDomínio/Área Científica::Humanidades::ArtesGuillermo del Toro’s most recent film The Shape of Water (2017) ends with a sequence presenting the leading role’s peculiar transformation that not only saves her life but allows her to breathe underneath the water and to be with the amphibious manlike creature she loves. By showing the exact instant where the character’s ancient neck scars open into gills with a thought-provoking low angle medium close-up in a floating environment, the film denotes a resonance between physical metamorphosis and a change of perspective. In addition, the sequence’s final scene is an extreme long shot of the story’s two main characters merged in a hug and surrounded by an aquatic empty landscape. Thus suggesting that the shift process’s culmination is not merely a matter of altered body parts but also of changing contexts, environments and ways to be, perceive and understand reality. However, this example is not the only one of how motion pictures have been approaching and displaying different transformation processes and their multiple implications. Almost a decade before The Shape of Water, the anime feature films Studio Ghibli released Hayao Miyazaki’s Ponyo on the Cliff by the Sea (2008). The story of a red goldfish princess who wishes to become a human after knowing a five-year-old boy. The film focuses on Ponyo’s becoming-human journey, showing how it develops alongside with her motivations and the ramifications of such a desire. The moment where Ponyo’s will of change provides her with legs and hands, disrupting her restraining water-bubble borders and altering nature’s balance, establishes a key progression to analyze and experience the complex shifting relationship between a subject and its milieu.Pollock, JonathanAparício, Maria IreneRUNGarces Velasco, Ricardo2020-06-25T00:30:56Z2019-06-252019-06-172019-06-25T00:00:00Zinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesisapplication/pdfhttp://hdl.handle.net/10362/77689TID:202262073enginfo:eu-repo/semantics/openAccessreponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAP2024-03-11T04:35:12Zoai:run.unl.pt:10362/77689Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-20T03:35:46.515273Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse
dc.title.none.fl_str_mv The cinemas deterritorializing potential and its philosophical contagion
title The cinemas deterritorializing potential and its philosophical contagion
spellingShingle The cinemas deterritorializing potential and its philosophical contagion
Garces Velasco, Ricardo
Cinema
Desterritorialização
Domínio/Área Científica::Humanidades::Artes
title_short The cinemas deterritorializing potential and its philosophical contagion
title_full The cinemas deterritorializing potential and its philosophical contagion
title_fullStr The cinemas deterritorializing potential and its philosophical contagion
title_full_unstemmed The cinemas deterritorializing potential and its philosophical contagion
title_sort The cinemas deterritorializing potential and its philosophical contagion
author Garces Velasco, Ricardo
author_facet Garces Velasco, Ricardo
author_role author
dc.contributor.none.fl_str_mv Pollock, Jonathan
Aparício, Maria Irene
RUN
dc.contributor.author.fl_str_mv Garces Velasco, Ricardo
dc.subject.por.fl_str_mv Cinema
Desterritorialização
Domínio/Área Científica::Humanidades::Artes
topic Cinema
Desterritorialização
Domínio/Área Científica::Humanidades::Artes
description Guillermo del Toro’s most recent film The Shape of Water (2017) ends with a sequence presenting the leading role’s peculiar transformation that not only saves her life but allows her to breathe underneath the water and to be with the amphibious manlike creature she loves. By showing the exact instant where the character’s ancient neck scars open into gills with a thought-provoking low angle medium close-up in a floating environment, the film denotes a resonance between physical metamorphosis and a change of perspective. In addition, the sequence’s final scene is an extreme long shot of the story’s two main characters merged in a hug and surrounded by an aquatic empty landscape. Thus suggesting that the shift process’s culmination is not merely a matter of altered body parts but also of changing contexts, environments and ways to be, perceive and understand reality. However, this example is not the only one of how motion pictures have been approaching and displaying different transformation processes and their multiple implications. Almost a decade before The Shape of Water, the anime feature films Studio Ghibli released Hayao Miyazaki’s Ponyo on the Cliff by the Sea (2008). The story of a red goldfish princess who wishes to become a human after knowing a five-year-old boy. The film focuses on Ponyo’s becoming-human journey, showing how it develops alongside with her motivations and the ramifications of such a desire. The moment where Ponyo’s will of change provides her with legs and hands, disrupting her restraining water-bubble borders and altering nature’s balance, establishes a key progression to analyze and experience the complex shifting relationship between a subject and its milieu.
publishDate 2019
dc.date.none.fl_str_mv 2019-06-25
2019-06-17
2019-06-25T00:00:00Z
2020-06-25T00:30:56Z
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dc.identifier.uri.fl_str_mv http://hdl.handle.net/10362/77689
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