O papel do design na construção do ethos do protagonista na animação Up ‐ altas aventuras

• Ano de defesa: 2019
• Autor(a) principal: Souza, Rodrigo Aparecido de
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade de Franca; Brasil; Pós-Graduação; Programa de Mestrado em Linguística; UNIFRAN
• Palavras-chave em Português: Retórica; Design; Ethos; Character design; Filme de animação; CNPQ::LINGUISTICA, LETRAS E ARTES
• Link de acesso: https://repositorio.cruzeirodosul.edu.br/handle/123456789/437

The audience empathy by the animated film (feature‐length) UP (UP, 2009) is verified by its commercial and critical success and by the two Oscar awards conquered. As well as any animated film, details such as the characters' drawings, the scenes composition, and the colors were previously elaborated in order to act as intensifiers of the narrative intended meanings, thus acting in a rhetorical way. Based on the Aristotelian rhetoric and using the animated film UP as a research corpus, the current work aims to investigate the cooperation between design and rhetoric in the argumentative process steps of an animated film. To investigate this cooperation, it was analyzed the protagonist’s visual development ‐ a step known as character design, which, in a rhetorical terms, can be understood as the character’s ethos moment construction. Besides the animated film, the corpus was also be composed by The Art of Up (2009), written by Tim Hauser. In this book, the "concept arts" developed for the animated film by the orator‐director and his team are presented and described in detail. As a research cut, the prologue of the narrative was used for the analysis of the protagonist’s ethical construction. The theoretical framework was composed by rhetoric authors such as Aristotle (2013), Perelman and Olbrechts‐Tyteca (2005), Ferreira (2015), Fiorin (2016), Reboul (2004), and Meyer (2007) associated with visual language fields authors such as Arnheim (2011) and Dondis (1997). Regarding to the character design, it was evoked authors such as Bancroft (2006) and Nakata & Silva (2013). It was able to verify, through the analysis, the cooperation between design and rhetoric in the stages of inventio and elocutio. In the prologue analysis it was verified that the use of forms, colors, proportions, among other visual resources, effectively collaborated to the construction of Carl’s personality ‐ the protagonist ‐ a calm, grouchy and sad old man.