Design de produção: protocolo para análise das Camadas da Imagem Cinematográfica/CIC

• Autor(a) principal: SILVA, Melissa Almeida
• Data de Publicação: 2022
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da UFMA
• Texto Completo: https://tedebc.ufma.br/jspui/handle/tede/tede/4095
• topic: design;; análise da imagem;; imagem cinematográfica;; design de produção;; design;; image analysis;; cinematographic image;; production design.; Desenho de Produto

Faced with a complex language composed of many elements, cinema is a rich producer of images loaded with meanings. The production design makes up a considerable part of this image, designing the scenography, costumes, hair and makeup and working together with the director in the conception of storyboards. Possessing this far-fetched language, conceiving these images does not become a simple task and requires a deep study of the idea that the film wants to convey, determined by the director and/or the screenwriter of the work. It means translating text (script) into image. There are no pre-established standards for the composition of these images, and production design, a competence of the design field as it includes a considerable part of the communicational ability of the cinematographic image, requires a lot of sensitivity, competence and practical and theoretical knowledge about design processes. Thus, as a contribution of the research to the field, the present work aimed to propose the protocol “Film Image Layers”, which analyzes the creative process of the image layers, in order to assist in the construction of the production design of the cinematographic language, so that the choices made by this professional are shared and justified . Methodologically based on a qualitative and descriptive-analytical research, the protocol was created using as a basis the writings of Vanoye and Goliot-Lété on the stages of “Deconstruction – description” and “Reconstruction – interpretation”. For the applicability of the protocol, the television series “O conto da Aia” was used, which presents an aesthetic of oppression and repression. From the application of the protocol and the synthesis found, propositions were made for the scenography project, storyboards and costumes for the short film “Um desvio para o Vermelho”, written by filmmaker Rose Panet.