Cinematic motion by hand
Autor(a) principal: | |
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Data de Publicação: | 2006 |
Tipo de documento: | Artigo |
Idioma: | eng |
Título da fonte: | Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
Texto Completo: | http://hdl.handle.net/10400.1/1096 |
Resumo: | The general goal of my research is to find out what is questioned whenever an animated film is made by an author who chooses to have maximum control over the device automatisms. I am trying to understand in what ways that specific kind of film relates with Cinema and the History of Art as a whole and, more specifically, how its filmic discourse is built within cinematic codes, workings and machinery. This paper, in particular, aims to establish that each time an author makes a film by suspending both automatic ‘motion’ and image recording functions—that which is often known as “cameraless” film—a process is initiated that simultaneously questions not only Cinema, within both expression and technology, but also the ontological position this same technology occupies in current media. |
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Cinematic motion by handAnimation poeticsThe general goal of my research is to find out what is questioned whenever an animated film is made by an author who chooses to have maximum control over the device automatisms. I am trying to understand in what ways that specific kind of film relates with Cinema and the History of Art as a whole and, more specifically, how its filmic discourse is built within cinematic codes, workings and machinery. This paper, in particular, aims to establish that each time an author makes a film by suspending both automatic ‘motion’ and image recording functions—that which is often known as “cameraless” film—a process is initiated that simultaneously questions not only Cinema, within both expression and technology, but also the ontological position this same technology occupies in current media.Nichola DobsonSapientiaGraça, Marina Estela2012-05-01T21:20:55Z20062006-01-01T00:00:00Zinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/articleapplication/pdfhttp://hdl.handle.net/10400.1/1096engAnimation Studies – Vol.1, 20061930-1928AUT: MGR00043;info: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:RCAAP2023-07-24T10:12:01Zoai:sapientia.ualg.pt:10400.1/1096Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-19T19:55:17.981478Repositório 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 |
Cinematic motion by hand |
title |
Cinematic motion by hand |
spellingShingle |
Cinematic motion by hand Graça, Marina Estela Animation poetics |
title_short |
Cinematic motion by hand |
title_full |
Cinematic motion by hand |
title_fullStr |
Cinematic motion by hand |
title_full_unstemmed |
Cinematic motion by hand |
title_sort |
Cinematic motion by hand |
author |
Graça, Marina Estela |
author_facet |
Graça, Marina Estela |
author_role |
author |
dc.contributor.none.fl_str_mv |
Sapientia |
dc.contributor.author.fl_str_mv |
Graça, Marina Estela |
dc.subject.por.fl_str_mv |
Animation poetics |
topic |
Animation poetics |
description |
The general goal of my research is to find out what is questioned whenever an animated film is made by an author who chooses to have maximum control over the device automatisms. I am trying to understand in what ways that specific kind of film relates with Cinema and the History of Art as a whole and, more specifically, how its filmic discourse is built within cinematic codes, workings and machinery. This paper, in particular, aims to establish that each time an author makes a film by suspending both automatic ‘motion’ and image recording functions—that which is often known as “cameraless” film—a process is initiated that simultaneously questions not only Cinema, within both expression and technology, but also the ontological position this same technology occupies in current media. |
publishDate |
2006 |
dc.date.none.fl_str_mv |
2006 2006-01-01T00:00:00Z 2012-05-01T21:20:55Z |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
http://hdl.handle.net/10400.1/1096 |
url |
http://hdl.handle.net/10400.1/1096 |
dc.language.iso.fl_str_mv |
eng |
language |
eng |
dc.relation.none.fl_str_mv |
Animation Studies – Vol.1, 2006 1930-1928 AUT: MGR00043; |
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 |
Nichola Dobson |
publisher.none.fl_str_mv |
Nichola Dobson |
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 |
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Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
instacron_str |
RCAAP |
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RCAAP |
reponame_str |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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