Banca de DEFESA: CHRISTIANE QUARESMA MEDEIROS

Uma banca de DEFESA de DOUTORADO foi cadastrada pelo programa.
STUDENT : CHRISTIANE QUARESMA MEDEIROS
DATE: 05/09/2022
TIME: 09:30
LOCAL: Videoconferência Via Google Meet
TITLE:

Gesture will be irrecoverable: Formlessness experiences in animation cinema

KEY WORDS:

1. Animation; 2. Gesture; 3. Body; 4. Formlessness; 5. Experimental.

PAGES: 184
BIG AREA: Ciências Sociais Aplicadas
AREA: Comunicação
SUMMARY:

The present research tries to understand the specific role of animation in the context of the representative arts of the body and the gestures. To do so, it sought, at first, to observe this relationship from a historical perspective based on the common sense about the body and how it reverberates in the area of aesthetics. It was observed that animated art emerges and is consolidated right on the context of the anthropomorphic paradigm crisis that took place between the end of the 19th century and the beginning of the 20th century, which led the aesthetic field to representations of the body to
detach from the humanist ideal and stared to de-realize the man. Agamben points out in this period a certain obsession with gestures, which would have triggered attempts to recover the knowledge of gestures in the sciences and the arts, a search that would point an art that was fundamentally "gesture oriented" as a place to establish itself: These was the art of Cinema. Animation, as a particular form of cinema, is also essentially an art of gesture. But, by following the new representation paradigms that were formulated following the crisis of humanism, it denies the integral human form of photographic representation and is founded as art from a de-realized body. The research starts from the thesis that, having the gesture as its fundamental element, in animation, this de-realization project extends to gestuality. Thus, this study proposes to investigate the ways of disassemble the gestures that dwell on the animated art, from its origins to the elaboration of a representational competence based on principles of distortion. By closing the borders of deviations in a variety of possibilities limited by the canon formulated for animated art, the loss of gesture continued (and continues) to be pursued in the field of the experimental. On this matter, the research focuses on a representative of experimental animation corpus, operating on it an analytical practice that proposes to observe the gestural deconfiguration from the basic perspective of animated technique: the relationship between frames and poses. The results are discussed under the light of the notion of ‘formlessness’, developed by Georges Bataille to oppose key aspects of the humanist paradigm in the first decades of the 20th century, when animation was founded as an art. The idea of ‘formlessness’ is a key concept to observe and discuss the attributes of this uncertain gesture, which is no longer able to classify the anatomical or cultural standards that operate on bodies.

BANKING MEMBERS:
Externa à Instituição - Carla Schneider
Interno - 1189721 - EDUARDO DUARTE GOMES DA SILVA
Externo à Instituição - ERICK FELINTO DE OLIVEIRA
Presidente - 1435892 - NINA VELASCO E CRUZ
Interno - 1670247 - RODRIGO OCTAVIO D AZEVEDO CARREIRO