The Sensible of Image: Sensoriality, Body and Narrative on Asian Contemporary Cinema

Detalhes bibliográficos
Autor(a) principal: Camila Vieira da Silva
Data de Publicação: 2010
Tipo de documento: Dissertação
Idioma: por
Título da fonte: Biblioteca Digital de Teses e Dissertações da UFC
Texto Completo: http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=4886
Resumo: Introducing as a theme the relation between sensoriality, body and narrative at the recent cinema production released in Asian countries, as Thai, Taiwan and Japan, this paper searches to investigate how movies as Tropical Malady (Sud Pralad, 2004), by Apichatpong Weerasethakul; Goodbye, Dragon Inn (Bu San, 2003), by Tsai Ming-Liang; Cafà LumiÃre (KÃhà JikÃ, 2004), by Hou Hsiao-Hsien; e Shara (Sharasojyu, 2003), by Naomi Kawase, are related to an understanding of an specific form of cinema, based in questions about the sensorial and the body, which also implies at a kind of narrative construction audiovisual. This hypothesis is that such contemporary filmmakers brings at their movies a kind of attention to everything that is related at pathos (affections, feelings) and the conservation of human anthropological integrity. Released at the market of international film festivals between 2003 e 2004, these four feature films were chosen as object of study, based at the hypothesis that are in them an specific kind of image, which privileges sensorial aspects that interfere directly on narrative construction.
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spelling info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesisThe Sensible of Image: Sensoriality, Body and Narrative on Asian Contemporary CinemaO SensÃvel da Imagem: Sensorialidade, Corpo e Narrativa no Cinema ContemporÃneo da Ãsia2010-06-16Sylvia Beatriz Bezerra Furtado12012572391http://lattes.cnpq.br/4063502391331604Antonio Wellington de Oliveira Junior12317691035http://lattes.cnpq.br/5419260227870704Alita Villas Boas de Sà Rego0315947080695305220378http://buscatextual.cnpq.br/buscatextual/visualizacv.jsp?id=W8416292Camila Vieira da SilvaUniversidade Federal do CearÃPrograma de PÃs-GraduaÃÃo em ComunicaÃÃo SocialUFCBRCOMUNICACAOIntroducing as a theme the relation between sensoriality, body and narrative at the recent cinema production released in Asian countries, as Thai, Taiwan and Japan, this paper searches to investigate how movies as Tropical Malady (Sud Pralad, 2004), by Apichatpong Weerasethakul; Goodbye, Dragon Inn (Bu San, 2003), by Tsai Ming-Liang; Cafà LumiÃre (KÃhà JikÃ, 2004), by Hou Hsiao-Hsien; e Shara (Sharasojyu, 2003), by Naomi Kawase, are related to an understanding of an specific form of cinema, based in questions about the sensorial and the body, which also implies at a kind of narrative construction audiovisual. This hypothesis is that such contemporary filmmakers brings at their movies a kind of attention to everything that is related at pathos (affections, feelings) and the conservation of human anthropological integrity. Released at the market of international film festivals between 2003 e 2004, these four feature films were chosen as object of study, based at the hypothesis that are in them an specific kind of image, which privileges sensorial aspects that interfere directly on narrative construction.Apresentando como tema a relaÃÃo entre sensorialidade, corpo e narrativa em determinada produÃÃo cinematogrÃfica recente realizada em paÃses asiÃticos, como TailÃndia, Taiwan e JapÃo, esta dissertaÃÃo procura investigar como os filmes Mal dos TrÃpicos (Sud Pralad, 2004), de Apichatpong Weerasethakul; Adeus, Dragon Inn (Bu San, 2003), de Tsai Ming-Liang; Cafà LumiÃre (KÃhà JikÃ, 2004), de Hou Hsiao-Hsien; e Shara (Sharasojyu, 2003), de Naomi Kawase, relacionam-se à compreensÃo de uma forma especÃfica de lidar com o cinema com base em questÃes relativas ao sensorial e ao corpo, que implicam tambÃm em determinado tipo de construÃÃo audiovisual narrativa. A hipÃtese aqui à de que tais cineastas contemporÃneos priorizam em seus filmes uma espÃcie de atenÃÃo a tudo aquilo que diz respeito ao pathos (os afetos, os sentimentos) e à conservaÃÃo da integralidade antropolÃgica dos homens. LanÃados no circuito de festivais internacionais de cinema entre 2003 e 2004, as quatro produÃÃes citadas acima foram escolhidas como objeto de estudo com base na hipÃtese de que existe neles um regime especÃfico de imagem, em que se privilegiam aspectos sensoriais que interferem diretamente na construÃÃo narrativa.FundaÃÃo de Amparo à Pesquisa do Estado do CearÃhttp://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=4886application/pdfinfo:eu-repo/semantics/openAccessporreponame:Biblioteca Digital de Teses e Dissertações da UFCinstname:Universidade Federal do Cearáinstacron:UFC2019-01-21T11:18:03Zmail@mail.com -
dc.title.en.fl_str_mv The Sensible of Image: Sensoriality, Body and Narrative on Asian Contemporary Cinema
dc.title.alternative.pt.fl_str_mv O SensÃvel da Imagem: Sensorialidade, Corpo e Narrativa no Cinema ContemporÃneo da Ãsia
title The Sensible of Image: Sensoriality, Body and Narrative on Asian Contemporary Cinema
spellingShingle The Sensible of Image: Sensoriality, Body and Narrative on Asian Contemporary Cinema
Camila Vieira da Silva
COMUNICACAO
title_short The Sensible of Image: Sensoriality, Body and Narrative on Asian Contemporary Cinema
title_full The Sensible of Image: Sensoriality, Body and Narrative on Asian Contemporary Cinema
title_fullStr The Sensible of Image: Sensoriality, Body and Narrative on Asian Contemporary Cinema
title_full_unstemmed The Sensible of Image: Sensoriality, Body and Narrative on Asian Contemporary Cinema
title_sort The Sensible of Image: Sensoriality, Body and Narrative on Asian Contemporary Cinema
author Camila Vieira da Silva
author_facet Camila Vieira da Silva
author_role author
dc.contributor.advisor1.fl_str_mv Sylvia Beatriz Bezerra Furtado
dc.contributor.advisor1ID.fl_str_mv 12012572391
dc.contributor.advisor1Lattes.fl_str_mv http://lattes.cnpq.br/4063502391331604
dc.contributor.referee1.fl_str_mv Antonio Wellington de Oliveira Junior
dc.contributor.referee1ID.fl_str_mv 12317691035
dc.contributor.referee1Lattes.fl_str_mv http://lattes.cnpq.br/5419260227870704
dc.contributor.referee2.fl_str_mv Alita Villas Boas de SÃ Rego
dc.contributor.referee2ID.fl_str_mv 03159470806
dc.contributor.authorID.fl_str_mv 95305220378
dc.contributor.authorLattes.fl_str_mv http://buscatextual.cnpq.br/buscatextual/visualizacv.jsp?id=W8416292
dc.contributor.author.fl_str_mv Camila Vieira da Silva
contributor_str_mv Sylvia Beatriz Bezerra Furtado
Antonio Wellington de Oliveira Junior
Alita Villas Boas de SÃ Rego
dc.subject.cnpq.fl_str_mv COMUNICACAO
topic COMUNICACAO
dc.description.sponsorship.fl_txt_mv FundaÃÃo de Amparo à Pesquisa do Estado do CearÃ
dc.description.abstract.por.fl_txt_mv Introducing as a theme the relation between sensoriality, body and narrative at the recent cinema production released in Asian countries, as Thai, Taiwan and Japan, this paper searches to investigate how movies as Tropical Malady (Sud Pralad, 2004), by Apichatpong Weerasethakul; Goodbye, Dragon Inn (Bu San, 2003), by Tsai Ming-Liang; Cafà LumiÃre (KÃhà JikÃ, 2004), by Hou Hsiao-Hsien; e Shara (Sharasojyu, 2003), by Naomi Kawase, are related to an understanding of an specific form of cinema, based in questions about the sensorial and the body, which also implies at a kind of narrative construction audiovisual. This hypothesis is that such contemporary filmmakers brings at their movies a kind of attention to everything that is related at pathos (affections, feelings) and the conservation of human anthropological integrity. Released at the market of international film festivals between 2003 e 2004, these four feature films were chosen as object of study, based at the hypothesis that are in them an specific kind of image, which privileges sensorial aspects that interfere directly on narrative construction.
Apresentando como tema a relaÃÃo entre sensorialidade, corpo e narrativa em determinada produÃÃo cinematogrÃfica recente realizada em paÃses asiÃticos, como TailÃndia, Taiwan e JapÃo, esta dissertaÃÃo procura investigar como os filmes Mal dos TrÃpicos (Sud Pralad, 2004), de Apichatpong Weerasethakul; Adeus, Dragon Inn (Bu San, 2003), de Tsai Ming-Liang; Cafà LumiÃre (KÃhà JikÃ, 2004), de Hou Hsiao-Hsien; e Shara (Sharasojyu, 2003), de Naomi Kawase, relacionam-se à compreensÃo de uma forma especÃfica de lidar com o cinema com base em questÃes relativas ao sensorial e ao corpo, que implicam tambÃm em determinado tipo de construÃÃo audiovisual narrativa. A hipÃtese aqui à de que tais cineastas contemporÃneos priorizam em seus filmes uma espÃcie de atenÃÃo a tudo aquilo que diz respeito ao pathos (os afetos, os sentimentos) e à conservaÃÃo da integralidade antropolÃgica dos homens. LanÃados no circuito de festivais internacionais de cinema entre 2003 e 2004, as quatro produÃÃes citadas acima foram escolhidas como objeto de estudo com base na hipÃtese de que existe neles um regime especÃfico de imagem, em que se privilegiam aspectos sensoriais que interferem diretamente na construÃÃo narrativa.
description Introducing as a theme the relation between sensoriality, body and narrative at the recent cinema production released in Asian countries, as Thai, Taiwan and Japan, this paper searches to investigate how movies as Tropical Malady (Sud Pralad, 2004), by Apichatpong Weerasethakul; Goodbye, Dragon Inn (Bu San, 2003), by Tsai Ming-Liang; Cafà LumiÃre (KÃhà JikÃ, 2004), by Hou Hsiao-Hsien; e Shara (Sharasojyu, 2003), by Naomi Kawase, are related to an understanding of an specific form of cinema, based in questions about the sensorial and the body, which also implies at a kind of narrative construction audiovisual. This hypothesis is that such contemporary filmmakers brings at their movies a kind of attention to everything that is related at pathos (affections, feelings) and the conservation of human anthropological integrity. Released at the market of international film festivals between 2003 e 2004, these four feature films were chosen as object of study, based at the hypothesis that are in them an specific kind of image, which privileges sensorial aspects that interfere directly on narrative construction.
publishDate 2010
dc.date.issued.fl_str_mv 2010-06-16
dc.type.status.fl_str_mv info:eu-repo/semantics/publishedVersion
dc.type.driver.fl_str_mv info:eu-repo/semantics/masterThesis
status_str publishedVersion
format masterThesis
dc.identifier.uri.fl_str_mv http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=4886
url http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=4886
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.publisher.none.fl_str_mv Universidade Federal do CearÃ
dc.publisher.program.fl_str_mv Programa de PÃs-GraduaÃÃo em ComunicaÃÃo Social
dc.publisher.initials.fl_str_mv UFC
dc.publisher.country.fl_str_mv BR
publisher.none.fl_str_mv Universidade Federal do CearÃ
dc.source.none.fl_str_mv reponame:Biblioteca Digital de Teses e Dissertações da UFC
instname:Universidade Federal do Ceará
instacron:UFC
reponame_str Biblioteca Digital de Teses e Dissertações da UFC
collection Biblioteca Digital de Teses e Dissertações da UFC
instname_str Universidade Federal do Ceará
instacron_str UFC
institution UFC
repository.name.fl_str_mv -
repository.mail.fl_str_mv mail@mail.com
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