Detalhes bibliográficos
| Ano de defesa: |
2013 |
| Autor(a) principal: |
Vasconcelos, Diego Hoefel |
| Orientador(a): |
Não Informado pela instituição |
| Banca de defesa: |
Não Informado pela instituição |
| Tipo de documento: |
Dissertação
|
| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
www.teses.ufc.br
|
| Programa de Pós-Graduação: |
Não Informado pela instituição
|
| Departamento: |
Não Informado pela instituição
|
| País: |
Não Informado pela instituição
|
| Palavras-chave em Português: |
|
| Link de acesso: |
http://www.repositorio.ufc.br/handle/riufc/9207
|
Resumo: |
The research is divided into three parts. The first is a study of the face and its relationship with the portrait, from classical definitions and approaches between the two concepts in art history. The second part of the dissertation deals with the face in film and concatenates the analysis of a few filmic propositions with different theoretical approaches as a way to reflect on the face in silent, classic and modern films. The vectorized face of classic cinema, treated as the main space of identification with the characters, operates differently from the deep face of modern cinema, which reveals internal movements, anxieties, nauseas. Both are, in the third part of the dissertation, confronted with the contemporary face. Space in which intensities and affects emerge, the face that appears in a certain recent film production is closer to the landscape than to the portrait. |
