Pub Date : 2015-09-01DOI: 10.4013/VER.2015.29.72.08
João Paulo Hergesel
A semasioestilistica diz respeito ao estudo do estilo centrado no sentido, isto e, a significacao provocada pelos valores expressivos e impressivos no campo dos pensamentos e sentimentos, muitas vezes afrontando a logica. A fonoestilistica, por sua vez, e entendida como o grupo das fi guras de sonoridade: onomatopeia, aliteracao, assonância, paronomasia, entre outras. Questiona-se, com isso, como a Estilistica trabalha para proporcionar o humor no audiovisual. Analisa-se, entao, o episodio O Fascinante Mundo Masculino, da webserie Crises Inuteis de um Relacionamento Qualquer, bem como o dropes Manual de um Casal Quase Normal, discutindo como as fi guras de pensamento e de harmonia contribuem para a producao do comico em um produto audiovisual. Palavras-chave: comunicacao e cultura, analise de produto audiovisual, webserie, narrativas midiaticas, estilistica.
{"title":"Reflexões semasioestilísticas e fonoestilísticas de produtos audiovisuais","authors":"João Paulo Hergesel","doi":"10.4013/VER.2015.29.72.08","DOIUrl":"https://doi.org/10.4013/VER.2015.29.72.08","url":null,"abstract":"A semasioestilistica diz respeito ao estudo do estilo centrado no sentido, isto e, a significacao provocada pelos valores expressivos e impressivos no campo dos pensamentos e sentimentos, muitas vezes afrontando a logica. A fonoestilistica, por sua vez, e entendida como o grupo das fi guras de sonoridade: onomatopeia, aliteracao, assonância, paronomasia, entre outras. Questiona-se, com isso, como a Estilistica trabalha para proporcionar o humor no audiovisual. Analisa-se, entao, o episodio O Fascinante Mundo Masculino, da webserie Crises Inuteis de um Relacionamento Qualquer, bem como o dropes Manual de um Casal Quase Normal, discutindo como as fi guras de pensamento e de harmonia contribuem para a producao do comico em um produto audiovisual. Palavras-chave: comunicacao e cultura, analise de produto audiovisual, webserie, narrativas midiaticas, estilistica.","PeriodicalId":30199,"journal":{"name":"Verso e Reverso","volume":"29 1","pages":"202-208"},"PeriodicalIF":0.0,"publicationDate":"2015-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70313438","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2015-08-06DOI: 10.4013/VER.2015.29.72.04
P. P. Neves
The present paper attempts to create a dialogue between the films Train of shadows (1997) and In the city of Sylvia (2007), by the Spanish filmmaker Jose Luis Guerin’s, and some of the ideas discussed by Laura Mulvey in her book Death 24x a second – stillness and the moving image (2006). For the author, the act of delaying the flow of a fi lm through pause and repetition of certain sequences is capable of bringing to the surface the stillness of the single frame and the consciousness of the photographic index, evoking the presence of death. Through analysis of the aforementioned films, we investigate the strategies employed by Guerin to delay narrative, giving space to reflection on time and memory. Furthermore, we take note of the ways in which the filmmaker stages the tension between stasis and movement in terms of gender, linking it to the roles played by male and female characters in the narrative. Keywords: film, memory, narrative, feminist theory.
{"title":"Todo filme é de assombração: um diálogo entre Laura Mulvey e José Luis Guerín sobre cinema, tempo e fantasmas","authors":"P. P. Neves","doi":"10.4013/VER.2015.29.72.04","DOIUrl":"https://doi.org/10.4013/VER.2015.29.72.04","url":null,"abstract":"The present paper attempts to create a dialogue between the films Train of shadows (1997) and In the city of Sylvia (2007), by the Spanish filmmaker Jose Luis Guerin’s, and some of the ideas discussed by Laura Mulvey in her book Death 24x a second – stillness and the moving image (2006). For the author, the act of delaying the flow of a fi lm through pause and repetition of certain sequences is capable of bringing to the surface the stillness of the single frame and the consciousness of the photographic index, evoking the presence of death. Through analysis of the aforementioned films, we investigate the strategies employed by Guerin to delay narrative, giving space to reflection on time and memory. Furthermore, we take note of the ways in which the filmmaker stages the tension between stasis and movement in terms of gender, linking it to the roles played by male and female characters in the narrative. Keywords: film, memory, narrative, feminist theory.","PeriodicalId":30199,"journal":{"name":"Verso e Reverso","volume":"29 1","pages":"165-173"},"PeriodicalIF":0.0,"publicationDate":"2015-08-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70312831","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2015-08-03DOI: 10.4013/VER.2015.29.72.01
A. K. Oliveira, Â. Marques
The aim of this paper is to observe the process of opening of relational spaces of confl ict between the pixacao and the world of art depicted from the analysis of six events that had involved pixadores of the city of Sao Paulo (Brazil), between 2008 and 2012. Given this context, the att ention is focused at the images produced for the pixacao at diff erent moments, searching for the relations that they made possible and the political potencies that they keep. The notion of political potency is mainly anchored in the thought of Jacques Ranciere (2009, 2010a, 2010b, 2011, 2012), who understands it as the potential that an image has to destabilize the orders of the sayable and the visible, opening new possibilities for the partition of the sensible. To fundament such considerations, we present the three regimes of the art considered by Ranciere (ethical, representative, and aesthetical) amongst which the aesthetic regime keeps such political potency. Then three images of Dian Ivson’s pixacoes are observed: he signs the name of his group, “Cripta”, at three moments: in the street; in the Cartier Foundation (Paris); and in the Biennial of Berlin. We want to see how the relations of prohibition, assent and subversion can make appear diff erent elements, making similar images keep distinct potencies. Keywords: pixacao, image, political potency, regimes of art.
{"title":"Potências políticas nas imagens da pixação na rua e na galeria","authors":"A. K. Oliveira, Â. Marques","doi":"10.4013/VER.2015.29.72.01","DOIUrl":"https://doi.org/10.4013/VER.2015.29.72.01","url":null,"abstract":"The aim of this paper is to observe the process of opening of relational spaces of confl ict between the pixacao and the world of art depicted from the analysis of six events that had involved pixadores of the city of Sao Paulo (Brazil), between 2008 and 2012. Given this context, the att ention is focused at the images produced for the pixacao at diff erent moments, searching for the relations that they made possible and the political potencies that they keep. The notion of political potency is mainly anchored in the thought of Jacques Ranciere (2009, 2010a, 2010b, 2011, 2012), who understands it as the potential that an image has to destabilize the orders of the sayable and the visible, opening new possibilities for the partition of the sensible. To fundament such considerations, we present the three regimes of the art considered by Ranciere (ethical, representative, and aesthetical) amongst which the aesthetic regime keeps such political potency. Then three images of Dian Ivson’s pixacoes are observed: he signs the name of his group, “Cripta”, at three moments: in the street; in the Cartier Foundation (Paris); and in the Biennial of Berlin. We want to see how the relations of prohibition, assent and subversion can make appear diff erent elements, making similar images keep distinct potencies. Keywords: pixacao, image, political potency, regimes of art.","PeriodicalId":30199,"journal":{"name":"Verso e Reverso","volume":"29 1","pages":"132-143"},"PeriodicalIF":0.0,"publicationDate":"2015-08-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70312617","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2015-07-29DOI: 10.4013/VER.2015.29.71.02
Laura Wulff Schuch, R. Fischer
Este trabalho esta inserido em uma pesquisa que investiga os modos atraves dos quais jovens estudantes de Pedagogia e Comunicacao da Grande Porto Alegre experimentam e se relacionam com a imagem cinematografica. Este estudo propoe um recorte especifico em seus dados e base teorica: indagar de que forma a narrativa cinematografica nos coloca na presenca do outro . Temos como ponto de partida o documentario Santiago , de Joao Moreira Salles, e os dados empiricos da pesquisa, compostos por entrevistas individuais com estudantes sobre sua relacao com a imagem, e producoes textuais de alunos sobre a experiencia com filmes especificos trabalhados em sala de aula. Nesse percurso, entenderemos, junto com Didi-Huberman, que a imagem supoe uma cisao do ato de ver, que faz com que aquilo que olhamos nos olhe tambem. No filme escolhido, esses olhares se multiplicam: ha um cruzamento de olhares dentro de Santiago , entre cineasta e entrevistado, patrao e mordomo, cineasta e material bruto; e esses olhares encontram e refletem, ainda, o olhar do espectador. Esses varios outros podem abrir questionamentos em relacao a imagem e ao pensamento nela presente. Afinal, a imagem cinematografica, segundo Badiou, e uma especie de materia-prima atraves da qual o cinema “pensa”; ela traz a tona, tambem, a experiencia radical do outro . Segundo Carlos Skliar, essa irrupcao do outro nos devolve nosso proprio “ser outro”. No entrelacamento desses conceitos e dos dados empiricos a respeito da experiencia dos jovens com a imagem, que narram transformacoes de si resultantes desse contato, buscamos pensar tambem o cinema como formacao etico-estetica, partindo das reflexoes de Michel Foucault acerca do cuidado consigo como pratica etica de liberdade. Palavras-chave: outro, cinema, experiencia.
{"title":"Olhares que se cruzam : os muitos outros no filme Santiago","authors":"Laura Wulff Schuch, R. Fischer","doi":"10.4013/VER.2015.29.71.02","DOIUrl":"https://doi.org/10.4013/VER.2015.29.71.02","url":null,"abstract":"Este trabalho esta inserido em uma pesquisa que investiga os modos atraves dos quais jovens estudantes de Pedagogia e Comunicacao da Grande Porto Alegre experimentam e se relacionam com a imagem cinematografica. Este estudo propoe um recorte especifico em seus dados e base teorica: indagar de que forma a narrativa cinematografica nos coloca na presenca do outro . Temos como ponto de partida o documentario Santiago , de Joao Moreira Salles, e os dados empiricos da pesquisa, compostos por entrevistas individuais com estudantes sobre sua relacao com a imagem, e producoes textuais de alunos sobre a experiencia com filmes especificos trabalhados em sala de aula. Nesse percurso, entenderemos, junto com Didi-Huberman, que a imagem supoe uma cisao do ato de ver, que faz com que aquilo que olhamos nos olhe tambem. No filme escolhido, esses olhares se multiplicam: ha um cruzamento de olhares dentro de Santiago , entre cineasta e entrevistado, patrao e mordomo, cineasta e material bruto; e esses olhares encontram e refletem, ainda, o olhar do espectador. Esses varios outros podem abrir questionamentos em relacao a imagem e ao pensamento nela presente. Afinal, a imagem cinematografica, segundo Badiou, e uma especie de materia-prima atraves da qual o cinema “pensa”; ela traz a tona, tambem, a experiencia radical do outro . Segundo Carlos Skliar, essa irrupcao do outro nos devolve nosso proprio “ser outro”. No entrelacamento desses conceitos e dos dados empiricos a respeito da experiencia dos jovens com a imagem, que narram transformacoes de si resultantes desse contato, buscamos pensar tambem o cinema como formacao etico-estetica, partindo das reflexoes de Michel Foucault acerca do cuidado consigo como pratica etica de liberdade. Palavras-chave: outro, cinema, experiencia.","PeriodicalId":30199,"journal":{"name":"Verso e Reverso","volume":"29 1","pages":"64-69"},"PeriodicalIF":0.0,"publicationDate":"2015-07-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70312172","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2015-07-24DOI: 10.4013/VER.2015.29.71.07
I. Rocha
Nas duas ultimas decadas, a teoria-ator-rede ganhou espaco consideravel em diversos campos de pesquisa, sobretudo na comunicacao. Devido aos desenvolvimentos atuais nas tecnologias de comunicacao, um apelo aos conceitos da teoria emergiu produzindo achados interessantes sobre a area. Porem, por outro lado, muitos desses trabalhos sugerem pouca exploracao dos potenciais da teoria para uma possivel oxigenacao das pesquisas. Neste artigo, procura-se explorar as limitacoes da literatura na area em forma de notas que indicam alguns problemas e possibilidades. Por fim, conclui destacando a importância de levar a cabo o projeto sugerido pela teoria-ator-rede de desdobrar agencias atraves de relatos como um dos aspectos teorico-metodologicos mais relevantes para as pesquisas em comunicacao. Palavras-chave: Teoria Ator-Rede, pesquisas em comunicacao, ANT, ontologias.
{"title":"Teoria-ator-rede e práticas de pesquisa: notas sobre alguns usos nas pesquisas em comunicação","authors":"I. Rocha","doi":"10.4013/VER.2015.29.71.07","DOIUrl":"https://doi.org/10.4013/VER.2015.29.71.07","url":null,"abstract":"Nas duas ultimas decadas, a teoria-ator-rede ganhou espaco consideravel em diversos campos de pesquisa, sobretudo na comunicacao. Devido aos desenvolvimentos atuais nas tecnologias de comunicacao, um apelo aos conceitos da teoria emergiu produzindo achados interessantes sobre a area. Porem, por outro lado, muitos desses trabalhos sugerem pouca exploracao dos potenciais da teoria para uma possivel oxigenacao das pesquisas. Neste artigo, procura-se explorar as limitacoes da literatura na area em forma de notas que indicam alguns problemas e possibilidades. Por fim, conclui destacando a importância de levar a cabo o projeto sugerido pela teoria-ator-rede de desdobrar agencias atraves de relatos como um dos aspectos teorico-metodologicos mais relevantes para as pesquisas em comunicacao. Palavras-chave: Teoria Ator-Rede, pesquisas em comunicacao, ANT, ontologias.","PeriodicalId":30199,"journal":{"name":"Verso e Reverso","volume":"29 1","pages":"115-122"},"PeriodicalIF":0.0,"publicationDate":"2015-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70312779","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2015-07-18DOI: 10.4013/VER.2015.29.71.08
F. Silveira
O artigo destaca e comenta duas discussoes muito especificas sobre a banda de rock inglesa The Fall. A partir dai, tenta aproxima-las ao debate sobre o rock feito no Rio Grande do Sul, a partir da decada de 1980. Basicamente, e um estudo exploratorio, que se vale de resenhas criticas e levantamentos bibliograficos iniciais para refinar ângulos analiticos e testar questoes a serem problematizadas no interior de um projeto de investigacao recem-iniciado. Palavras-chave: The Fall, Mark E. Smith, cenas musicais de Manchester, John Peel, rock gaucho.
{"title":"The Fall: John Peel e os ares do norte","authors":"F. Silveira","doi":"10.4013/VER.2015.29.71.08","DOIUrl":"https://doi.org/10.4013/VER.2015.29.71.08","url":null,"abstract":"O artigo destaca e comenta duas discussoes muito especificas sobre a banda de rock inglesa The Fall. A partir dai, tenta aproxima-las ao debate sobre o rock feito no Rio Grande do Sul, a partir da decada de 1980. Basicamente, e um estudo exploratorio, que se vale de resenhas criticas e levantamentos bibliograficos iniciais para refinar ângulos analiticos e testar questoes a serem problematizadas no interior de um projeto de investigacao recem-iniciado. Palavras-chave: The Fall, Mark E. Smith, cenas musicais de Manchester, John Peel, rock gaucho.","PeriodicalId":30199,"journal":{"name":"Verso e Reverso","volume":"29 1","pages":"123-130"},"PeriodicalIF":0.0,"publicationDate":"2015-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70313012","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2015-07-01DOI: 10.4013/VER.2015.29.71.03
J. Ferreira, H. Janzen
In Bakhtin’s view of language and culture the principle of otherness is medullary, therefore, in this research we seek for an understanding of the interculturality in communication, illustrated in film language, through the prism of the theory of Mikhail Bakhtin, especially the ideas of exotopy/ vision surplus , components of intercultural relations. Thus, this article is an analysis of some intercultural relations experienced by the characters Eugene Martone and Willie Brown in the movie Crossroads. Considering the complexity of film language, our approach concentrated on the development of the intercultural relationship between the characters, which gave concreteness to the concepts of duplication, hybridization and finishing , central amalgam in the dialogical perspective on language and culture, both inside and outside the artistic universe, at last, possible in all fields of human activity. Keywords: audiovisual, communication, interculturality, language, Mikhail Bakhtin.
{"title":"A interculturalidade na linguagem audiovisual: estranhamento, duplicação, hibridização e acabamento","authors":"J. Ferreira, H. Janzen","doi":"10.4013/VER.2015.29.71.03","DOIUrl":"https://doi.org/10.4013/VER.2015.29.71.03","url":null,"abstract":"In Bakhtin’s view of language and culture the principle of otherness is medullary, therefore, in this research we seek for an understanding of the interculturality in communication, illustrated in film language, through the prism of the theory of Mikhail Bakhtin, especially the ideas of exotopy/ vision surplus , components of intercultural relations. Thus, this article is an analysis of some intercultural relations experienced by the characters Eugene Martone and Willie Brown in the movie Crossroads. Considering the complexity of film language, our approach concentrated on the development of the intercultural relationship between the characters, which gave concreteness to the concepts of duplication, hybridization and finishing , central amalgam in the dialogical perspective on language and culture, both inside and outside the artistic universe, at last, possible in all fields of human activity. Keywords: audiovisual, communication, interculturality, language, Mikhail Bakhtin.","PeriodicalId":30199,"journal":{"name":"Verso e Reverso","volume":"29 1","pages":"70-78"},"PeriodicalIF":0.0,"publicationDate":"2015-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70312434","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2015-06-19DOI: 10.4013/VER.2015.29.71.05
Rafael José Bona
This is an analysis of the movie Copacabana (1947), musical comedy, black and white, a United Artists production, directed by Alfred E. Green and starring Groucho Marx and Carmen Miranda. The selection of scenes for the study established the following criteria: be a musical number and have the presence of Carmen Miranda (playing Carmen Navarro). Thus, the musicals Tico-Tico no Fuba, He Hasn’t Got a Thing to Sell and Let’s Do the Copacabana were analyzed. The results indicate the representation of Brazil in the character, few cuts in the scenes and the emphasis on other characters, besides Carmen, in the musicals. Keywords: Carmen Miranda, movie analysis, Copacabana (1947).
{"title":"O cinema de Carmen Miranda: análise fílmica de Copacabana (1947)","authors":"Rafael José Bona","doi":"10.4013/VER.2015.29.71.05","DOIUrl":"https://doi.org/10.4013/VER.2015.29.71.05","url":null,"abstract":"This is an analysis of the movie Copacabana (1947), musical comedy, black and white, a United Artists production, directed by Alfred E. Green and starring Groucho Marx and Carmen Miranda. The selection of scenes for the study established the following criteria: be a musical number and have the presence of Carmen Miranda (playing Carmen Navarro). Thus, the musicals Tico-Tico no Fuba, He Hasn’t Got a Thing to Sell and Let’s Do the Copacabana were analyzed. The results indicate the representation of Brazil in the character, few cuts in the scenes and the emphasis on other characters, besides Carmen, in the musicals. Keywords: Carmen Miranda, movie analysis, Copacabana (1947).","PeriodicalId":30199,"journal":{"name":"Verso e Reverso","volume":"61 4 1","pages":"89-98"},"PeriodicalIF":0.0,"publicationDate":"2015-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70312119","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2015-04-17DOI: 10.4013/VER.2015.29.71.06
Cássio de Borba Lucas, Alexandre Rocha da Silva
This article is about the ‘orchestral audiovisual’: in what way do the new image and sound mediums translate Beethoven’s orchestral music? The orchestral audiovisual e characterized, first, in its intersemiotic relations, as we consider its implied mechanisms of translation and transcreation. The concepts that these categories subsume and the typology of translations elaborated by Julio Plaza (2008) sustain the analysis of three audiovisual versions of Beethoven’s Sixth Symphony. To these versions correspond three modes of transcreation: Humphrey Burton indexically translates the music as it is realized in the concert house, through the establishment of conventional contiguities; Hugo Niebeling iconically translates the music into the audiovisual through the creation of relations of qualitative similitude between the music’s form and the orchestra’s form; and Stephen Malinowski, through a series of codifications that regulate the topological distribution of the visual elements, engenders a symbolic translation very much like the one foreseen by Michel Chion. Keywords: orchestra, audiovisual, intersemiotic translation, transcreation.
{"title":"Da orquestra ao audiovisual: traduções intersemióticas da ‘Pastoral’ de Beethoven","authors":"Cássio de Borba Lucas, Alexandre Rocha da Silva","doi":"10.4013/VER.2015.29.71.06","DOIUrl":"https://doi.org/10.4013/VER.2015.29.71.06","url":null,"abstract":"This article is about the ‘orchestral audiovisual’: in what way do the new image and sound mediums translate Beethoven’s orchestral music? The orchestral audiovisual e characterized, first, in its intersemiotic relations, as we consider its implied mechanisms of translation and transcreation. The concepts that these categories subsume and the typology of translations elaborated by Julio Plaza (2008) sustain the analysis of three audiovisual versions of Beethoven’s Sixth Symphony. To these versions correspond three modes of transcreation: Humphrey Burton indexically translates the music as it is realized in the concert house, through the establishment of conventional contiguities; Hugo Niebeling iconically translates the music into the audiovisual through the creation of relations of qualitative similitude between the music’s form and the orchestra’s form; and Stephen Malinowski, through a series of codifications that regulate the topological distribution of the visual elements, engenders a symbolic translation very much like the one foreseen by Michel Chion. Keywords: orchestra, audiovisual, intersemiotic translation, transcreation.","PeriodicalId":30199,"journal":{"name":"Verso e Reverso","volume":"29 1","pages":"99-114"},"PeriodicalIF":0.0,"publicationDate":"2015-04-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70312183","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2015-03-17DOI: 10.4013/VER.2015.29.71.04
Melissa Ribeiro de Almeida
This paper aims to investigate, in the scheme of film narrative succession, aspects of structure ordering that go beyond their perfectly progressive development. This characteristic makes the readability of the narrative more complex, as it requires the viewer to rescue the rationality of history, establishing a degree of consistency and uniformity to the narrated actions to ensure the survival of the narrative. In order to illustrate and discuss the proposals, the objects of analysis are four films produced in the 2000’s whose narrative formats help us better understand how the interpretative internal coherence in non-progressive succession in the film narrative occurs: Butterfly Effect, 21 Grams, 11:14 and Amnesia . Keywords: film narrative, contemporary cinema, time in the cinema.
{"title":"Análise dos aspectos da ordenação sucessória não progressiva na narrativa fílmica","authors":"Melissa Ribeiro de Almeida","doi":"10.4013/VER.2015.29.71.04","DOIUrl":"https://doi.org/10.4013/VER.2015.29.71.04","url":null,"abstract":"This paper aims to investigate, in the scheme of film narrative succession, aspects of structure ordering that go beyond their perfectly progressive development. This characteristic makes the readability of the narrative more complex, as it requires the viewer to rescue the rationality of history, establishing a degree of consistency and uniformity to the narrated actions to ensure the survival of the narrative. In order to illustrate and discuss the proposals, the objects of analysis are four films produced in the 2000’s whose narrative formats help us better understand how the interpretative internal coherence in non-progressive succession in the film narrative occurs: Butterfly Effect, 21 Grams, 11:14 and Amnesia . Keywords: film narrative, contemporary cinema, time in the cinema.","PeriodicalId":30199,"journal":{"name":"Verso e Reverso","volume":"29 1","pages":"79-88"},"PeriodicalIF":0.0,"publicationDate":"2015-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70312064","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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