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Publication
Teias do espaço fílmico: O design de produção e a hapticidade imagética na incitação ao medo
| Name: | Description: | Size: | Format: | |
|---|---|---|---|---|
| 59.06 MB | Adobe PDF |
Authors
Abstract(s)
A narrativa de um filme decorre, necessariamente, em um espaço. O departamento
artístico de uma produção audiovisual, comandado pelo designer de produção, é
responsável por caracterizar os personagens e materializar o universo fílmico. Embora o
design de produção componha, juntamente com a direção e a direção de fotografia, a
tríade imagética de um filme, o número de investigações direcionadas a essa temática
ainda é pequeno. Para erigir um espaço diegético, o designer de produção lança mão de
cores, volumes, materiais, formas e texturas. Esse último elemento tem o potencial de
enriquecer significativamente a imagem fílmica, contribuindo para o processo de
imersão do espectador na história. Compreendemos o espectador como um sujeito
corporificado, cujos demais sentidos, além da visão e da audição, são também evocados
ao assistir a um filme. Dentre os sentidos do corpo humano, esta pesquisa direciona uma
luz ao tato e, portanto, às superfícies dos materiais que compõem os cenários fílmicos e
favorecem uma hapticidade imagética. Ao refletirmos sobre essa materialidade,
percebemos o papel do design de produção para evocar emoções. Uma das principais
emoções despertadas pelo cinema é o medo. Trata-se de uma emoção cuja longa relação
com as artes e com o cinema pode ser estudada de diferentes perspectivas. Na
investigação aqui empreendida, visamos esclarecer como o design de produção, ao
contribuir para a criação de imagens hápticas, desperta no espectador a memória tátil e
pode influenciar na construção do sentimento de medo no discurso fílmico. Para tanto,
realizamos uma revisão de literatura e foram elaboradas análises dos longas-metragens
The Witch (Robert Eggers, 2015) e The Lighthouse (Robert Eggers, 2019), cujos
departamentos artísticos foram comandados por Craig Lathrop. Percebemos como
Lathrop, ao trabalhar com superfícies texturizadas, contribuiu para a criação de cenas
amedrontadoras. Destarte, a originalidade deste estudo está na busca por engendrar uma
tese que relaciona o design de produção ao háptico e ao medo. A investigação, que aborda
uma área ainda pouco discutida, poderá contribuir para o direcionamento de um olhar
mais minucioso para o design de produção por acadêmicos, assim como por profissionais
que atuam na prática cinematográfica.
A film’s narrative necessarily unfolds within a space. The art department of an audiovisual production, led by the production designer, is responsible for characterizing the characters and materializing the film’s universe. Although production design, alongside direction and cinematography, constitutes the imagetic triad of a film, the amount of research focused on this subject remains limited. To create a diegetic space, the production designer employs colors, volumes, materials, shapes, and textures. The latter holds significant potential to enrich a film’s imagery, contributing to the viewer’s immersion in the story. We understand the viewer as an embodied subject whose senses, beyond sight and hearing, are also stimulated when watching a film. Among the human senses, this research focuses on touch and, therefore, on the surfaces of materials that compose film sets and favor an imagery of hapticity. Reflecting on this materiality reveals the role of production design in evoking emotions. One of the main emotions aroused by cinema is fear. This is an emotion whose long-standing relationship with the arts and cinema can be explored from various perspectives. This research aims to clarify how production design, by contributing to the creation of haptic images, activates the viewer’s tactile memory and influences the construction of fear within film discourse. To achieve this, we conducted a literature review and analyzed the feature films The Witch (Robert Eggers, 2015) and The Lighthouse (Robert Eggers, 2019), whose art departments were headed by Craig Lathrop. We observed how Lathrop, by working with textured surfaces, contributed to the creation of frightening scenes. Thus, the originality of this study lies in the development of a thesis that connects production design, haptics, and fear. The research, by addressing an underexplored area, can encourage a more detailed look at production design by academics, as well as by professionals working in cinematographic practice.
A film’s narrative necessarily unfolds within a space. The art department of an audiovisual production, led by the production designer, is responsible for characterizing the characters and materializing the film’s universe. Although production design, alongside direction and cinematography, constitutes the imagetic triad of a film, the amount of research focused on this subject remains limited. To create a diegetic space, the production designer employs colors, volumes, materials, shapes, and textures. The latter holds significant potential to enrich a film’s imagery, contributing to the viewer’s immersion in the story. We understand the viewer as an embodied subject whose senses, beyond sight and hearing, are also stimulated when watching a film. Among the human senses, this research focuses on touch and, therefore, on the surfaces of materials that compose film sets and favor an imagery of hapticity. Reflecting on this materiality reveals the role of production design in evoking emotions. One of the main emotions aroused by cinema is fear. This is an emotion whose long-standing relationship with the arts and cinema can be explored from various perspectives. This research aims to clarify how production design, by contributing to the creation of haptic images, activates the viewer’s tactile memory and influences the construction of fear within film discourse. To achieve this, we conducted a literature review and analyzed the feature films The Witch (Robert Eggers, 2015) and The Lighthouse (Robert Eggers, 2019), whose art departments were headed by Craig Lathrop. We observed how Lathrop, by working with textured surfaces, contributed to the creation of frightening scenes. Thus, the originality of this study lies in the development of a thesis that connects production design, haptics, and fear. The research, by addressing an underexplored area, can encourage a more detailed look at production design by academics, as well as by professionals working in cinematographic practice.
Description
Keywords
Cinema Design de Produção Imagens Hápticas Espaço Diegético Medo Production Design Haptic Imagery Diegetic Space Fear