Portugues
Autor(a) principal: | |
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Data de Publicação: | 2020 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | P@ranoá |
Texto Completo: | https://periodicos.unb.br/index.php/paranoa/article/view/29384 |
Resumo: | The city is an unfinished and culturally produced object. Its spaces are defined historically through the conflicts established by different socio-cultural groups that shape it. The spatial arrangements and their representations refer to the way in which the body relates to the city over time. That said, it is understood that the cinematographic representation of the space is made through the cutout delimited by a frame when the filmmaker aims at the landscape. This picture denounces, between movements and filmed stays, the cartography of the path of the one who operates the camera defining the cinematic image. The camera is understood as a “apparatus” that, due to its characteristics, determine the construction of the frame and, therefore, of the film representation itself. Therefore, in order to understand the cinematographic representation of a space it is necessary to investigate the filmic frame, being aware that it presupposes a relationship between body, space and camera. |
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PortuguesO quadro, o corpo e o espaço no cinemaCidade e cinema, corpo e cidade, representação, aparelhoCity and cinema, body e city, representation, apparatusThe city is an unfinished and culturally produced object. Its spaces are defined historically through the conflicts established by different socio-cultural groups that shape it. The spatial arrangements and their representations refer to the way in which the body relates to the city over time. That said, it is understood that the cinematographic representation of the space is made through the cutout delimited by a frame when the filmmaker aims at the landscape. This picture denounces, between movements and filmed stays, the cartography of the path of the one who operates the camera defining the cinematic image. The camera is understood as a “apparatus” that, due to its characteristics, determine the construction of the frame and, therefore, of the film representation itself. Therefore, in order to understand the cinematographic representation of a space it is necessary to investigate the filmic frame, being aware that it presupposes a relationship between body, space and camera.A cidade é um objeto inacabado e culturalmente produzido. Seus espaços são definidos historicamente por meio dos conflitos estabelecidos pelos diferentes grupos socioculturais que a conformam. As disposições espaciais e suas representações referem-se com a maneira com que o corpo se relaciona com a cidade ao longo do tempo. Posto isso, entende-se que a representação cinematográfica do espaço é feita por meio do recorte delimitado por um quadro quando o cineasta mira a paisagem. Esse quadro denuncia, entre movimentos e permanências filmadas, a cartografia do percurso daquele que opera a câmera definindo a imagem cinematográfica. A câmera é entendida como um “aparelho” que, por suas características, condiciona a construção do quadro e, portanto, da própria representação fílmica. Para compreender a representação cinematográfica de um espaço, portanto, se faz necessário investigar o quadro fílmico, ciente de que ele pressupõe uma relação entre corpo, espaço e câmera.Programa de Pós-graduação em Arquitetura e Urbanismo, Faculdade de Arquitetura e Urbanismo2020-02-12info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://periodicos.unb.br/index.php/paranoa/article/view/2938410.18830/issn.1679-0944.n24.2019.03Paranoá; Vol. 12 No. 24 (2019): Paranoá 24 - July/December - Cinema Urbana: Memories under Construction; 10-21Paranoá; v. 12 n. 24 (2019): Fluxo Contínuo - Julho/Dezembro; 10-211679-09441677-7395reponame:P@ranoáinstname:Universidade de Brasília (UnB)instacron:UNBporhttps://periodicos.unb.br/index.php/paranoa/article/view/29384/25323Copyright (c) 2019 Paranoá: cadernos de arquitetura e urbanismoinfo:eu-repo/semantics/openAccessBadolati Racca, Gustavo2024-02-08T12:36:02Zoai:ojs.pkp.sfu.ca:article/29384Revistahttps://periodicos.unb.br/index.php/paranoaPUBhttps://periodicos.unb.br/index.php/paranoa/oaiparanoa@unb.br1679-09441677-7395opendoar:2024-02-08T12:36:02P@ranoá - Universidade de Brasília (UnB)false |
dc.title.none.fl_str_mv |
Portugues O quadro, o corpo e o espaço no cinema |
title |
Portugues |
spellingShingle |
Portugues Badolati Racca, Gustavo Cidade e cinema, corpo e cidade, representação, aparelho City and cinema, body e city, representation, apparatus |
title_short |
Portugues |
title_full |
Portugues |
title_fullStr |
Portugues |
title_full_unstemmed |
Portugues |
title_sort |
Portugues |
author |
Badolati Racca, Gustavo |
author_facet |
Badolati Racca, Gustavo |
author_role |
author |
dc.contributor.author.fl_str_mv |
Badolati Racca, Gustavo |
dc.subject.por.fl_str_mv |
Cidade e cinema, corpo e cidade, representação, aparelho City and cinema, body e city, representation, apparatus |
topic |
Cidade e cinema, corpo e cidade, representação, aparelho City and cinema, body e city, representation, apparatus |
description |
The city is an unfinished and culturally produced object. Its spaces are defined historically through the conflicts established by different socio-cultural groups that shape it. The spatial arrangements and their representations refer to the way in which the body relates to the city over time. That said, it is understood that the cinematographic representation of the space is made through the cutout delimited by a frame when the filmmaker aims at the landscape. This picture denounces, between movements and filmed stays, the cartography of the path of the one who operates the camera defining the cinematic image. The camera is understood as a “apparatus” that, due to its characteristics, determine the construction of the frame and, therefore, of the film representation itself. Therefore, in order to understand the cinematographic representation of a space it is necessary to investigate the filmic frame, being aware that it presupposes a relationship between body, space and camera. |
publishDate |
2020 |
dc.date.none.fl_str_mv |
2020-02-12 |
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://periodicos.unb.br/index.php/paranoa/article/view/29384 10.18830/issn.1679-0944.n24.2019.03 |
url |
https://periodicos.unb.br/index.php/paranoa/article/view/29384 |
identifier_str_mv |
10.18830/issn.1679-0944.n24.2019.03 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://periodicos.unb.br/index.php/paranoa/article/view/29384/25323 |
dc.rights.driver.fl_str_mv |
Copyright (c) 2019 Paranoá: cadernos de arquitetura e urbanismo info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2019 Paranoá: cadernos de arquitetura e urbanismo |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Programa de Pós-graduação em Arquitetura e Urbanismo, Faculdade de Arquitetura e Urbanismo |
publisher.none.fl_str_mv |
Programa de Pós-graduação em Arquitetura e Urbanismo, Faculdade de Arquitetura e Urbanismo |
dc.source.none.fl_str_mv |
Paranoá; Vol. 12 No. 24 (2019): Paranoá 24 - July/December - Cinema Urbana: Memories under Construction; 10-21 Paranoá; v. 12 n. 24 (2019): Fluxo Contínuo - Julho/Dezembro; 10-21 1679-0944 1677-7395 reponame:P@ranoá instname:Universidade de Brasília (UnB) instacron:UNB |
instname_str |
Universidade de Brasília (UnB) |
instacron_str |
UNB |
institution |
UNB |
reponame_str |
P@ranoá |
collection |
P@ranoá |
repository.name.fl_str_mv |
P@ranoá - Universidade de Brasília (UnB) |
repository.mail.fl_str_mv |
paranoa@unb.br |
_version_ |
1797066979639558144 |