Detalhes bibliográficos
| Ano de defesa: |
2016 |
| Autor(a) principal: |
Filho, Ernesto
 |
| Orientador(a): |
Greiner, Christine |
| 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 Comunicação e Semiótica
|
| Departamento: |
Faculdade de Filosofia, Comunicação, Letras e Artes
|
| 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/19464
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Resumo: |
This dissertation seeks to organize and complexify a certain dimention of the body in film making having as a starting point the notion of essay film and the film of my own "Pas ce soir", finalized and presented for the first time in January 2015. The term essay film began to be used in the 1940s to refer to certain types of cinematic experiences that were beginning to emerge. Many of these experiments were related to the emergence of new technologies such as 16mm cameras, which enabled a single artist to handle the apparatus necessary for the making of a film. Part of the theoretical work is based on theories that discuss the body and its relationship with the environment. Among them, “Corpomídia” theory (GREINER and KATZ); the notion of “embodied meaning” (JOHNSON, Mark) and ideia of “extended mind” (Clark, Andy). The hypothesis is that the notion of essay film needs to be problematized because until today it relies on dualistic separations that do not make sense in bodily terms |
