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Advisor(s)
Abstract(s)
O objetivo deste trabalho é a pesquisa por onde o desvio pela animação em filmes
documentários sobre guerras e conflitos violentos, dialoga com o espectador, para isso,
analisamos o encontro ao longo da história de documentários que utilizam a animação,
em suas múltiplas perspectivas, para representar conflitos reais. Mais do que trabalhar
questões da faculdade da credibilidade documental da animação, interessa as
possibilidades narrativas decorrentes deste encontro, onde a animação é amplamente
associada à temas infantis e ficcionais, e a imagem-câmera, que é usualmente utilizada
para apresentação de fatos históricos. Almejamos compreender os seguimentos desta
ruptura documental tradicional com a efabulação pela animação no decorrer da
história, a reestruturação no diálogo entre autor e receptor, no decurso da evidenciação
do realizador no objeto fílmico. Para concluir, faremos um estudo de caso de seis
documentários sobre guerras, assim, permitir aprofundar o conhecimento sobre o
documentário animado, onde as perguntas de partida serão, como e por que da
utilização da animação. No intuito de compreender o objeto estudado e o seu caráter
único, identificamos as principais técnicas implementadas, a proposta comunicacional,
a metaforização, ou seja, a narrativa como um todo. Onde o hibridismo de formatos
também é pertinente em obras que se utilizam concomitantemente de múltiplas
técnicas e fontes, como imagens e áudios de arquivo, encenações, animação e
imagens-câmera. O escopo dos filmes para este estudo orientou-se em virtude do tema,
documentários que se utilizem de animação, integralmente ou parcialmente, para
representar algum momento de guerra ao longo da história, considerando indispensável
trabalhar com obras com histórico de participação em reconhecidos festivais de
documentários ou que sejam objetos de análise de pesquisadores renomados no campo
de filmes documentais ou animação. Os filme selecionados são; O Naufrágio de
Lusitania (The Sinking of Lusitania, 1918); A Vitória pela Força Aérea (Victory
through air power, 1943); Waltz; with Bashir (2008); As 18 Fugitivas (The wanted
18, 2014); Torre (Tower, 2016); Mais uma Dia de Vida (Another Day of Life, 2017).
The purpose of this work is the research on the diversion by animation in documentary films, on wars and violent conflicts, and how they dialogue with the viewer. We will analyze the meeting throughout the history of the documentary that uses animation, in its multiple perspectives, to represent real conflicts. More than working on the issues of documentary credibility in animation, the narrative possibilities resulted from this encounter are interesting, where animation is largely associated with children's and fictional themes, and the image of the camera, usually used to present historical facts. We aim to understand the rupture of the traditional documentary with the use of effabulation and the restructuring in the dialogue between author and viewer during the revelation of the director's presence in the cinematographic object. Finally, we will make a study of six documentaries about wars, allowing us to deepen the knowledge about the animated documentary. The main question is how and why to use animation. To understand the studied object and its unique character, we will try to identify the main techniques used, the communicational proposal, the metaphorization, the narrative as a whole. Where format hybridism is also relevant, in works that use multiple techniques and sources simultaneously, such as images and audio files, staging, animation and camera images. The scope of the films for this study was based on the theme, documentaries that use animation, in whole or in part, to represent some moment of war throughout history. considering it essential to work with films with a history of participation in renowned documentary festivals or that are the object of analysis by renowned researchers in the field of documentary or animation. The selected films are The Sinking of Lusitania, (1914); Victory through air power, (1943); Waltz with Bashir (2008); The wanted 18, (2014); Tower (2016), Another Day of Life (2017).
The purpose of this work is the research on the diversion by animation in documentary films, on wars and violent conflicts, and how they dialogue with the viewer. We will analyze the meeting throughout the history of the documentary that uses animation, in its multiple perspectives, to represent real conflicts. More than working on the issues of documentary credibility in animation, the narrative possibilities resulted from this encounter are interesting, where animation is largely associated with children's and fictional themes, and the image of the camera, usually used to present historical facts. We aim to understand the rupture of the traditional documentary with the use of effabulation and the restructuring in the dialogue between author and viewer during the revelation of the director's presence in the cinematographic object. Finally, we will make a study of six documentaries about wars, allowing us to deepen the knowledge about the animated documentary. The main question is how and why to use animation. To understand the studied object and its unique character, we will try to identify the main techniques used, the communicational proposal, the metaphorization, the narrative as a whole. Where format hybridism is also relevant, in works that use multiple techniques and sources simultaneously, such as images and audio files, staging, animation and camera images. The scope of the films for this study was based on the theme, documentaries that use animation, in whole or in part, to represent some moment of war throughout history. considering it essential to work with films with a history of participation in renowned documentary festivals or that are the object of analysis by renowned researchers in the field of documentary or animation. The selected films are The Sinking of Lusitania, (1914); Victory through air power, (1943); Waltz with Bashir (2008); The wanted 18, (2014); Tower (2016), Another Day of Life (2017).
Description
Keywords
Documentário Animado Efabulação Espectatorialidade Guerras