Detalhes bibliográficos
| Ano de defesa: |
2017 |
| Autor(a) principal: |
Munduruca, Rafael Matrone
 |
| Orientador(a): |
Bastos, Marcus Vinicius Fainer |
| Banca de defesa: |
Não Informado pela instituição |
| Tipo de documento: |
Dissertação
|
| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Pontifícia Universidade Católica de São Paulo
|
| Programa de Pós-Graduação: |
Programa de Estudos Pós-Graduados em Tecnologias da Inteligência e Design Digital
|
| Departamento: |
Faculdade de Ciências Exatas e Tecnologia
|
| País: |
Brasil
|
| Palavras-chave em Português: |
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| Palavras-chave em Inglês: |
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| Área do conhecimento CNPq: |
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| Link de acesso: |
https://tede2.pucsp.br/handle/handle/20020
|
Resumo: |
By questioning the place of online interactive music video in digital culture, this research develops from a narrative about the scenarios that favored the invention of the music video, going through the stories of pre-cinema and cinema. After the emergence of the video, hybrid element that constitutes dialogue with several languages, and the development of the so-called video art, the music video establishes itself as one of the possibilities of music enjoyment. His place in television and on the internet is then presented in relation to the transformations of digital culture. From the convergence of the media, the viewer becomes an increasingly active participant, leading the investigation to questions related to the interaction mediated by technological devices, the performance of the users and the interactive narratives. From this perspective, and from the existing critical fortune, the four online interactive works created by Vincent Morisset for Arcade Fire are analyzed. Which are: Neon Bible, Black Mirror, Sprawl II (mountains beyond mountains) e Just a Reflektor |
