Intertextualidade e Apropriação: Do filme analógico ao digital
Autor(a) principal: | |
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Data de Publicação: | 2016 |
Tipo de documento: | Dissertação |
Idioma: | por |
Título da fonte: | Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
Texto Completo: | https://repositorio-aberto.up.pt/handle/10216/84409 |
Resumo: | From the Art earliest days that concepts such as intertextuality and appropriation are inestambly protagonists of a transposition universe where previously influences are sistematically imposed, coming from the past and affecting the future. Cinema and its main distinguishing feature - movement - is not an exception. From the history to nowadays that cinema is proliferated with examples of pre-existing material recycling: "What are the main diferences between intertextuality and appropriation?" This is the main question beyond the dissertation since the cinematographic device as a truly multimedia art brings together a wide range of representation elements that complicate the nuances of the above designations. It starts with a theoretical scope in which three points are highlighted: cinema as the art of the movement, current theories about intertextuality and appropriation and digital revolution. In the development it focuses in the analysis of a set of short films from the "Festival Of (In)Appropriation". The analysis aims to understand how artists nowadays endow other work on their creations, establishing a parallel between the cinematographic foundations of the two central concepts and the changes resulting from digital video, identifying new trends in the motion picture paradigm. It is concieved by adopting a taxonomy using the montage and three main filters: visual, historical and social. |
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Intertextualidade e Apropriação: Do filme analógico ao digitalOutras ciências da engenharia e tecnologiasOther engineering and technologiesFrom the Art earliest days that concepts such as intertextuality and appropriation are inestambly protagonists of a transposition universe where previously influences are sistematically imposed, coming from the past and affecting the future. Cinema and its main distinguishing feature - movement - is not an exception. From the history to nowadays that cinema is proliferated with examples of pre-existing material recycling: "What are the main diferences between intertextuality and appropriation?" This is the main question beyond the dissertation since the cinematographic device as a truly multimedia art brings together a wide range of representation elements that complicate the nuances of the above designations. It starts with a theoretical scope in which three points are highlighted: cinema as the art of the movement, current theories about intertextuality and appropriation and digital revolution. In the development it focuses in the analysis of a set of short films from the "Festival Of (In)Appropriation". The analysis aims to understand how artists nowadays endow other work on their creations, establishing a parallel between the cinematographic foundations of the two central concepts and the changes resulting from digital video, identifying new trends in the motion picture paradigm. It is concieved by adopting a taxonomy using the montage and three main filters: visual, historical and social.2016-07-132016-07-13T00:00:00Zinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesisapplication/pdfhttps://repositorio-aberto.up.pt/handle/10216/84409TID:201805286porAna Luísa Oliveira Ferreirainfo: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:RCAAP2023-11-29T15:32:27Zoai:repositorio-aberto.up.pt:10216/84409Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-20T00:26:05.145233Repositório 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 |
Intertextualidade e Apropriação: Do filme analógico ao digital |
title |
Intertextualidade e Apropriação: Do filme analógico ao digital |
spellingShingle |
Intertextualidade e Apropriação: Do filme analógico ao digital Ana Luísa Oliveira Ferreira Outras ciências da engenharia e tecnologias Other engineering and technologies |
title_short |
Intertextualidade e Apropriação: Do filme analógico ao digital |
title_full |
Intertextualidade e Apropriação: Do filme analógico ao digital |
title_fullStr |
Intertextualidade e Apropriação: Do filme analógico ao digital |
title_full_unstemmed |
Intertextualidade e Apropriação: Do filme analógico ao digital |
title_sort |
Intertextualidade e Apropriação: Do filme analógico ao digital |
author |
Ana Luísa Oliveira Ferreira |
author_facet |
Ana Luísa Oliveira Ferreira |
author_role |
author |
dc.contributor.author.fl_str_mv |
Ana Luísa Oliveira Ferreira |
dc.subject.por.fl_str_mv |
Outras ciências da engenharia e tecnologias Other engineering and technologies |
topic |
Outras ciências da engenharia e tecnologias Other engineering and technologies |
description |
From the Art earliest days that concepts such as intertextuality and appropriation are inestambly protagonists of a transposition universe where previously influences are sistematically imposed, coming from the past and affecting the future. Cinema and its main distinguishing feature - movement - is not an exception. From the history to nowadays that cinema is proliferated with examples of pre-existing material recycling: "What are the main diferences between intertextuality and appropriation?" This is the main question beyond the dissertation since the cinematographic device as a truly multimedia art brings together a wide range of representation elements that complicate the nuances of the above designations. It starts with a theoretical scope in which three points are highlighted: cinema as the art of the movement, current theories about intertextuality and appropriation and digital revolution. In the development it focuses in the analysis of a set of short films from the "Festival Of (In)Appropriation". The analysis aims to understand how artists nowadays endow other work on their creations, establishing a parallel between the cinematographic foundations of the two central concepts and the changes resulting from digital video, identifying new trends in the motion picture paradigm. It is concieved by adopting a taxonomy using the montage and three main filters: visual, historical and social. |
publishDate |
2016 |
dc.date.none.fl_str_mv |
2016-07-13 2016-07-13T00:00:00Z |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/masterThesis |
format |
masterThesis |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://repositorio-aberto.up.pt/handle/10216/84409 TID:201805286 |
url |
https://repositorio-aberto.up.pt/handle/10216/84409 |
identifier_str_mv |
TID:201805286 |
dc.language.iso.fl_str_mv |
por |
language |
por |
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.source.none.fl_str_mv |
reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação instacron:RCAAP |
instname_str |
Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
instacron_str |
RCAAP |
institution |
RCAAP |
reponame_str |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
collection |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
repository.name.fl_str_mv |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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1799136174796701696 |