A linguagem cinematográfica utilizada no video game: o uso das cutscenes como experiência diegética

• Autor(a) principal: Vieira, Cíntia Marques
• Data de Publicação: 2017
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações do UTP
• Texto Completo: http://tede.utp.br:8080/jspui/handle/tede/1342
• topic: Cinema; Video game; Novas mídias; Cutscenes; Metal Gear Solid V: The Phantom Pain; CIENCIAS SOCIAIS APLICADAS::COMUNICACAO

Cinema, when integrated with different devices and other media, has undergone transformations in its hegemonic model, creating representational and language displacements, in which a series of new aesthetic and narrative resources broaden its spectrum. These miscegenations and intercessions also bring about changes in cinematographic theories, at which point the image is no longer considered an object but a field of forces and relations. This research is dedicated to a reflection on the cinematographic language used in the video game and the relations between both media. The choice of the corpus was defined by a more precise cut of cutscenes: sequences of scenes similar to small films, which may or may not contain interactivity, but which mainly refer to the cinematographic spectacle as a form of reward or attribution of narrative meanings. games As an empirical object, there is the game Metal Gear Solid V: The Phantom Pain (2015), produced by Kojima Productions, a game from a series of games famous for the use of cinematic language and its numerous cutscenes. The research problem revolves around elements from the cinema that are used by video games to boost narratives and expand the constituent repertoire of player meanings. The guiding question of the present dissertation is: in what way the cutscenes dialog with the cinema in its main aesthetic and narrative dimensions? As hypothesis is the consideration that, once the subject interrupts the act of playing, interacting only with the text and narrative discourse of cutscenes, what changes in this cinema integrated to the game is the spatiality. Thus, the participation of the subject / spectator / co-author becomes essential for the construction of a narrative sense. The custcenes would be an example of the possible results originating from the integration between the media. A narrative form of "pre-telling" or "re-telling" that opens a mimetic event, a narrative act, reinforcing the game's diegetic and rhetorical dimension. The player assists and interacts in a differentiated way, the symbolic action that is inscribed in all representational events creates a rhetorically structured illusion, and freedom of action becomes meaning within a mythical and fictional universe. The general objective is to identify how the cinematographic experience becomes integrated into the new media. Specifically, explore what movie elements are used in the introductory cutscenes of the above game, as well as understand how cutscenes narratives can boost gameplay and expand the player's constituent repertoire of meanings. The aforementioned analysis will start with the theories of expanded and digital cinema, with authors Shaw, Youngblood, Manovich and Brow. On intermidiality and remediation through the studies of Nagib, Bolter and Grusin. Research on convergence, intertextuality and hybridism rely on the theoretical input of Jenkins and Bellour. We will also highlight the studies on language and narrative of video games, in which Huizinga, Lopes and Inocêncio, Ribeiro and Juul serve as indispensable support for this research.