Technical and aesthetic relations between post-World War II cinemas and digital cinema based on the film Timecode

Detalhes bibliográficos
Autor(a) principal: dos Reis e Cunha, João Paulo de Carvalho
Data de Publicação: 2021
Outros Autores: Drigo, Maria Ogécia
Tipo de documento: Artigo
Idioma: por
Título da fonte: Intexto (Porto Alegre)
Texto Completo: https://seer.ufrgs.br/index.php/intexto/article/view/99843
Resumo: The technical and aesthetic relations between modern cinema, whose currents were propelled in the post-World War II period, and digital cinema produced in the mid-1990’s is the subject of this article. The objective is to identify the characteristics of the film Timecode (2000) and relate them, in an evolutionary line, through convergences and divergences, to the main currents of modern cinema – experimental, direct and disnarrative. In addition, we approach the specificities of hypermedia and contemporary digital cinema. Among the conclusions, we highlight that digital cinema of the 1990’s was a development of the innovations brought by modern cinema.
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spelling Technical and aesthetic relations between post-World War II cinemas and digital cinema based on the film TimecodeRelações técnicas e estéticas entre os cinemas do pós-Segunda Guerra e o cinema digital com base no filme TimecodeCinemaCinema digitalHipermídiaMúltiplas telasTimecodeCinema. Digital cinema. Hypermedia. Multiple screens. Timecode.The technical and aesthetic relations between modern cinema, whose currents were propelled in the post-World War II period, and digital cinema produced in the mid-1990’s is the subject of this article. The objective is to identify the characteristics of the film Timecode (2000) and relate them, in an evolutionary line, through convergences and divergences, to the main currents of modern cinema – experimental, direct and disnarrative. In addition, we approach the specificities of hypermedia and contemporary digital cinema. Among the conclusions, we highlight that digital cinema of the 1990’s was a development of the innovations brought by modern cinema.As relações técnicas e estéticas entre o cinema moderno, cujas correntes tomaram impulso no período pós-Segunda Guerra, e o cinema digital, produzido a partir da segunda metade dos anos 1990, é o tema deste artigo. Objetiva-se identificar as características do filme Timecode (2000) e relacioná-las, por uma linha evolutiva, com aproximações e distanciamentos, às principais correntes do cinema moderno – experimental, direto e disnarrativo. Paralelamente, abordamos as especificidades da hipermídia e do cinema digital contemporâneos. Entre os resultados, destaca-se que o cinema digital dos anos 1990 foi um desdobramento das inovações trazidas pelo cinema moderno.Universidade Federal do Rio Grande do Sul2021-07-13info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://seer.ufrgs.br/index.php/intexto/article/view/9984310.19132/1807-8583202152.99843Intexto; No. 52 (2021); 99843Intexto; Núm. 52 (2021); 99843Intexto; No. 52 (2021); 99843Intexto; N. 52 (2021); 99843Intexto; n. 52 (2021); 998431807-8583reponame:Intexto (Porto Alegre)instname:Universidade Federal do Rio Grande do Sul (UFRGS)instacron:UFRGSporhttps://seer.ufrgs.br/index.php/intexto/article/view/99843/63540Copyright (c) 2021 João Paulo de Carvalho dos Reis e Cunha, Maria Ogécia Drigohttps://creativecommons.org/licenses/by-nc/4.0info:eu-repo/semantics/openAccessdos Reis e Cunha, João Paulo de CarvalhoDrigo, Maria Ogécia2023-02-06T12:26:21Zoai:seer.ufrgs.br:article/99843Revistahttp://seer.ufrgs.br/intextoONGhttp://seer.ufrgs.br/intexto/oai||intexto@ufrgs.br1807-85831807-8583opendoar:2023-02-06T12:26:21Intexto (Porto Alegre) - Universidade Federal do Rio Grande do Sul (UFRGS)false
dc.title.none.fl_str_mv Technical and aesthetic relations between post-World War II cinemas and digital cinema based on the film Timecode
Relações técnicas e estéticas entre os cinemas do pós-Segunda Guerra e o cinema digital com base no filme Timecode
title Technical and aesthetic relations between post-World War II cinemas and digital cinema based on the film Timecode
spellingShingle Technical and aesthetic relations between post-World War II cinemas and digital cinema based on the film Timecode
dos Reis e Cunha, João Paulo de Carvalho
Cinema
Cinema digital
Hipermídia
Múltiplas telas
Timecode
Cinema. Digital cinema. Hypermedia. Multiple screens. Timecode.
title_short Technical and aesthetic relations between post-World War II cinemas and digital cinema based on the film Timecode
title_full Technical and aesthetic relations between post-World War II cinemas and digital cinema based on the film Timecode
title_fullStr Technical and aesthetic relations between post-World War II cinemas and digital cinema based on the film Timecode
title_full_unstemmed Technical and aesthetic relations between post-World War II cinemas and digital cinema based on the film Timecode
title_sort Technical and aesthetic relations between post-World War II cinemas and digital cinema based on the film Timecode
author dos Reis e Cunha, João Paulo de Carvalho
author_facet dos Reis e Cunha, João Paulo de Carvalho
Drigo, Maria Ogécia
author_role author
author2 Drigo, Maria Ogécia
author2_role author
dc.contributor.author.fl_str_mv dos Reis e Cunha, João Paulo de Carvalho
Drigo, Maria Ogécia
dc.subject.por.fl_str_mv Cinema
Cinema digital
Hipermídia
Múltiplas telas
Timecode
Cinema. Digital cinema. Hypermedia. Multiple screens. Timecode.
topic Cinema
Cinema digital
Hipermídia
Múltiplas telas
Timecode
Cinema. Digital cinema. Hypermedia. Multiple screens. Timecode.
description The technical and aesthetic relations between modern cinema, whose currents were propelled in the post-World War II period, and digital cinema produced in the mid-1990’s is the subject of this article. The objective is to identify the characteristics of the film Timecode (2000) and relate them, in an evolutionary line, through convergences and divergences, to the main currents of modern cinema – experimental, direct and disnarrative. In addition, we approach the specificities of hypermedia and contemporary digital cinema. Among the conclusions, we highlight that digital cinema of the 1990’s was a development of the innovations brought by modern cinema.
publishDate 2021
dc.date.none.fl_str_mv 2021-07-13
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
format article
status_str publishedVersion
dc.identifier.uri.fl_str_mv https://seer.ufrgs.br/index.php/intexto/article/view/99843
10.19132/1807-8583202152.99843
url https://seer.ufrgs.br/index.php/intexto/article/view/99843
identifier_str_mv 10.19132/1807-8583202152.99843
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://seer.ufrgs.br/index.php/intexto/article/view/99843/63540
dc.rights.driver.fl_str_mv Copyright (c) 2021 João Paulo de Carvalho dos Reis e Cunha, Maria Ogécia Drigo
https://creativecommons.org/licenses/by-nc/4.0
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Copyright (c) 2021 João Paulo de Carvalho dos Reis e Cunha, Maria Ogécia Drigo
https://creativecommons.org/licenses/by-nc/4.0
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.publisher.none.fl_str_mv Universidade Federal do Rio Grande do Sul
publisher.none.fl_str_mv Universidade Federal do Rio Grande do Sul
dc.source.none.fl_str_mv Intexto; No. 52 (2021); 99843
Intexto; Núm. 52 (2021); 99843
Intexto; No. 52 (2021); 99843
Intexto; N. 52 (2021); 99843
Intexto; n. 52 (2021); 99843
1807-8583
reponame:Intexto (Porto Alegre)
instname:Universidade Federal do Rio Grande do Sul (UFRGS)
instacron:UFRGS
instname_str Universidade Federal do Rio Grande do Sul (UFRGS)
instacron_str UFRGS
institution UFRGS
reponame_str Intexto (Porto Alegre)
collection Intexto (Porto Alegre)
repository.name.fl_str_mv Intexto (Porto Alegre) - Universidade Federal do Rio Grande do Sul (UFRGS)
repository.mail.fl_str_mv ||intexto@ufrgs.br
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