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Abstract(s)
Despertada pelos questionamentos provindos da fotografia, do cinema e das suas
relações com o tempo, esta pesquisa parte das obras da fotógrafa, cineasta e artista visual
Agnès Varda, para uma aproximação das duas artes, tomando o tempo como motivo
fulcral de reflexão. Essa análise, propõe a existência de um tempo fotográfico como parte
do tempo cinematográfico, buscando as suas relações e hibridez a partir da expansão das
morfologias temporais dessas expressões artísticas.
Através da análise das criações de Agnès Varda, além de obras de outros cineastas e
fotógrafos, intenta-se uma ontologia dos tempos cinematográficos, sendo um deles, o
tempo fotográfico. O objetivo principal é definir esse conceito, identificar a forma que ele
assume e compreender os seus desdobramentos na arte contemporânea através de uma
reflexão sobre as instalações criadas pela autora nos últimos anos de sua carreira.
Prompted by questions regarding photography, film and their relationship with time, this research starts from the works of the photographer, filmmaker, and visual artist Agnès Varda, towards an approach of the two arts, in which time occupies the center of the reflection. This analysis argues the existence of a photographic time that is part of the filmic time, looking for their relations and intersections in the expansion of the temporal morphologies of these artistic expressions. Through the analysis of Agnès Varda's creations, as well as of works by other filmmakers and photographers, an ontology of filmic times is attempted, one of them being the photographic time. The main purpose is to define the latter concept, identify the form it takes and understand its developments in contemporary art through a reflection on the installations created by the French filmmaker in the later years of her career.
Prompted by questions regarding photography, film and their relationship with time, this research starts from the works of the photographer, filmmaker, and visual artist Agnès Varda, towards an approach of the two arts, in which time occupies the center of the reflection. This analysis argues the existence of a photographic time that is part of the filmic time, looking for their relations and intersections in the expansion of the temporal morphologies of these artistic expressions. Through the analysis of Agnès Varda's creations, as well as of works by other filmmakers and photographers, an ontology of filmic times is attempted, one of them being the photographic time. The main purpose is to define the latter concept, identify the form it takes and understand its developments in contemporary art through a reflection on the installations created by the French filmmaker in the later years of her career.
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Keywords
Agnès Varda Instalação Tempo Tempo Cinematográfico Tempo Fotográfico